aug1998

Lommunic~tion Art~ 1998 Photogra hy Annual

Communication Arts (ISSN 001 0-3519) is published eight times a year: January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October (includes Interactive Design Annual CD-ROM) November (Design Annual) December (Advertising Annual)

by Coyne & Blanchard, Inc. 41 0 Sherman Avenue Palo Alto, California 94306 800-258-9111 650-326-1648 fax e-mail: ca@commarts .com www.commarts.com Volume 40, Number 4 Copyright 1998

by Coyne & Blanchard, Inc. Periodicals postage paid at Palo Alto, CA and additional offices .

POSTMASTER : Send address changes to Communication Arts P.O. Box 10300 Palo Alto, California 94303

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Send change of address notification at least 45 days prior to effective date, include both old label and new address .

All pieces reproduced in this issue are under prior copyright by the creators or by contractual arrangements with their clients . Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

..f)Aac Cover: © Mark Gamba

~~mmuni~ati~n Art~ 1998

Photography Annual •

cat

Advertising

45

Books

51

Editorial

100

For Sale

106

Institutional

117

Self-Promotion

128

Unpublished

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August 1998 Volume 40, Number 4

tee

Editor and Designer Patrick Coyne

Technology Feature Kathleen Maf\_er delves into the world of digital cameras.

174

Design Technology When art survives the community thrives says Wendy Richmond .

176

Technology Reviews Pat Soberanis tests Extensis's PhotoFrame 1.0.

178

Technology Resources Books, tools, resources and educational opportunities .

Executive Editor Jean A. Coyne Consulting Editor and Designer Stephanie Steyer-Coyne Managing Editor Anne Telford Associate Editor Sue Garibaldi Associate Designer Mark Eastman Production Manager Scott Perry Production Ron Niewald

co

Technology Director Jeff Stafford

Design Issues Rebel in search of a cause, part one of a two-part series

by David Sterling .

202

Legal Affairs An excerpt from Michal Heron's book, Stock Photography Business Forms.

209

Trendwatch Stock photography usage .

212

Freelance Barbara Gordon discusses stock vs. original photography.

218

Advertising Tom Monahan explains why making ads funny is so difficult.

221

Conference Review Mark Eastman reports on FUSE98: Beyond Typography.

de

nt Contributors

224

Book Reviews

236

Materials, Available Literature

242

Clubs, Conferences, Seminars

245

Index and Addresses of Featured Photographers

254

Index of Art Directors, Design Firms, Agencies and Clients

258

Directory

Interactive Media Designer Bonnie Smetts Interactive Media Developer Gary Wium Information Systems Manager Michael Hoyt Web Administrator Nancy Hagemann General Manager Advertising/Circulation Michael Krigel Advertising/Circulation Gloria Rosario Administrative Assistants Nina Kitching Tiffany Thayer Subscriptions Priscilla Brooks Kris Johnson Camille Leekins Controller Ronald Auger, CPA Assistant to the Controller Gayle Gregorius Traffic Manager Wil Talton Founder Richard Coyne

Advertising Jeffery Titcomb, photographer Robert Bupp, art director Daniel Lyons, Jr., designer Ketchum Advertising/Pittsburgh, ad agency lmation, client Launch of a new company. Ad headline: Born leader.

2 Wayne Rainey, photographer/art director Joey Baker, designer Maricopa Community College, client Poster for Guanajuato, Mexico, summer semester.

Headline: iVamos A Mexico!

3 Russ Schleipman, photographer Anne Marcotty, art director Earthwatch, design/client Image for a direct mail piece depicting a research project in China .

4 Michael Hall, photographer Debbie Feasey, art director Designworks, design firm Westpac Trust, client Ad headline: Ways to do Your Banking.

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Advertising (series) Ron Fehling, photographer Wain Choi, art director Jana Peck/Nelson Quintal, writers Cossette Communications, ad agency Bombardier Regional Aircraft, client Ad campaign for regional aircraft manufacturer.

Headline: It's What We Dream That Sets Us Apart .

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Advertising (series) William Howard, photographer Guy Shelmerdine, art director Ground Zero, ad agency espn2, client Trade ads showing the kinds of viewers advertisers could reach via espn2.

2 Nadav Kander, photographer Steve Luker, art director Jeff Goodby/Rich Silverstein, creative directors Goodby, Silverstein & Partners, ad agency Nike, client Ad headline: Life above the ankles.

3 Brian Malloy, photographer Scott Lawson, art director Hoffman York, ad agency HomeBoyz Web Design, client Ad headline: We've taken some of the toughest gangs off the street and put them in your living room .

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Advertising (series) Clint Clemens, photographer Marc Kline, art director Fallon McElligott Berlin, Inc., ad agency Sports for Women, Conde Nast, client National ads to launch a new magazine.

Headlines: Heaven has four walls; Three miles to where exhaustion borders bliss; What scares me even more is not playing; I ran over fear of commitment at the bottom of that last hill; Live vicariously through you .

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Advertising (series) Pierre Louis Mongeau, photographer Tom Pedriks, art director Zinc Communications, ad agency Angelo Luzio, client Ad campaign in dance magazines for the dance shoe company.

2 (series) David Allan Brandt, photographer Norikazu Munekata, art director Takashi Nakahata, creative director Nakahata Company Ltd ., ad agency lwataya, client Print ads for a chain of Japanese department stores.

Headline: Love starts with a glance.

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Advertising Dennis Fagan, photographer Brent Ladd/Brian Brooker, art directors/writers GSD&M, ad agency KAOS, client Hair salon ad headline: Kids are our specialty.

2 (series) William Huber, photographer Rich Silverstein/Joel Clement, art directors Goodby, Silverstein & Partners, ad agency Nike, client Series of posters and billboards to promote the opening of Niketown in Boston. Headlines: In celebration of Franklin Field, Niketown is here; In celebration of Plum Island Trail, Niketown is here; In celebration of Prince Street Courts, Niketown is here; In celebration of O' Neill Rink, Niketown is here.

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Advertising Rosanne Olson, photographer Ethan May, art director Brian Piper, designer lmagio, ad agency Syncronys, client Software manufacturer of Windrenalin HD. Ad headline: Now there's adrenaline for your computer.

2 Stephen Wilkes, photographer Larry Zuger, creative director Leo Burnett Company, ad agency Kellogg Co., client Ad campaign for osteoporosis prevention . Headline: Women who eat a bowl of cereal consume more calcium.

3 Sue Bennett, photographer Leslie Kameny, art director McCaffery, Ratner, Gottlieb & Lane, ad agency Olympus, client Magazine ad headline : To William Wegman it's a lapdog. "Now I can store my dogs digitally. It's not quite man's best friend, but it's pretty close."

4 Philip Habib, photographer Ed Evangelista, art director Messner Vetere Berger McNamee Schmetterer/Euro RSCG, ad agency Philips Electronics North America Corp., client Ad headline: Until now color control this powerful only existed in nature.

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Advertising Dan Lim, photographer Boris Matas/Hayes Steinberg, art directors Healthwise Creative Resource Group Inc., ad agency Ranscombe & Company, design firm Sudafed, Warner Lambert, client Print campaign used in bus shelters, ads, direct mail.

2 (series) Rodney Smith, photographer Mary Patton, art director Peterson Milia Hooks, ad agency Dayton Hudson Corp., client Stills from a television commercial.

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Advertising Michael Hall, photographer Debbie Feasey, art director Designworks, design firm Westpac Trust, client Ad headline: Simple, affordable options to help protect your home, contents, vehicle and boat.

2 Shawn Michienzi, Ripsaw, photographer Don Creed, art director Brad Palm, d'palmz, digital enhancement Foote, Cone & Belding, ad agency Sega, client Ad headline: Some people go to extremes to play NBA Action 98.

3 John Huet, photographer John Dames, art director/designer Core, ad agency Quantum, client Ad headline: After thirty seconds, you're afraid your line might break. After thirty minutes, you ' re afraid it might not.

4 Mark Gamba, photographer Mike Fetrow, art director Fallon McElligott, ad agency Nikon, client Trade show display.

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Advertising (series) Marc Norberg, photographer Jim Henderson, art director Martin/Williams, ad agency Catholic Charities, client Ads to bring awareness to the efforts of the Catholic Charities to help the homeless. Headlines: (Denise) I didn't run away. I was thrown away; (John) I sleep, but I never dream; (Marvin) I am not living on the street. I am dying on it.

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Advertising Ron Berg, photographer Trevor Williams, art director/designer Bernstein-Rein Advertising, ad agency National Night Hoops Basketball Tourney, client Poster.

2 Nadav Kander, photographer Steve Luker, art director Jeff Goodby/Rich Silverstein, creative directors Goodby, Silverstein & Partners, ad agency Nike, client Ad headline: Life above the ankles.

3 Stephen Wilkes, photographer Patrick Mullins, art director Goodby, Silverstein & Partners, ad agency Hewlett-Packard, client Ad headline: The power of a color copier for the price of black and white.

4 Steve Hix, photographer Tom Parr, art director Judy Rush, computer retoucher BBDO New York, ad agency Federal Express, client Ad announcing the purchase of RPS by Federal Express. Headline: Announcing FXX.

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Advertising Philip Porcella, photographer Vann Graves, art director BBDO New York, ad agency Visa, client Ad headline: Experience the elements of style.

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Advertising Kurt Gerber, photographer Richard Sillick, art director EMA, ad agency

3 Bruce DeBoer, photographer David Swartz, art director Alex Bogusky, creative director Crispin Porter Bogusky, ad agency Giro Designs, client Champion cyclist Ruthie Matthes. Ad headline: Make sure your autobiography is the thickest book on the shelf.

N ike / Nazareth College, clients School newspaper ad for Nike-affiliated soccer program .

2 Lisa Cargill, photographer/ designer Donna Schudei / Shannon Greene-Robb, clients Poster advertising Reinventing a Performance art show.

4 Timothy Archibald, photographer Garrett DeVoe, designer King Pin Design, design firm Rusty Jones, Inc., client Portrait of the firm 's five young partners was used for promotional purposes and posters.

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Advertising (series) Nadav Kander, photographer Jamie Mahoney, art director The Martin Agency, ad agency Finlandia Vodka, client 2 Marc Gouby, photographer Stephane Goddard, art director louis XVI, ad agency Audi, client Ad headline: Passons aux choses serieuses.

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Advertising (series) Rodney Smith, photographer Mary Patton, art director Peterson Milia Hooks, ad agency Dayton Hudson Corp., client Still photographs for television commercial "No. 2-Ready to Wear."

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Advertising Brian Bailey, photographer Summer R. Blevins, art director/designer Carney & Co., ad agency Albemarle Hospital, client Ad headline: Albemarle Hospital...more than you expect. By land. By sea. For life.

2 Sanjay Kothari, photographer Larry Freemantle, art director Atlantic Records, design/client CD cover "Naked" for the band Hatters.

3 Philip Rostron, photographer Barry Stringer, art director Stringer Veroni Ketchum, ad agency Reckitt & Colman, client Ad headline: There is no such thing as a little problem when it comes to carpet stains.

4 John Huet, photographer Robert Nakata, art director Wieden & Kennedy, ad agency Nike, client Ad headline: 203 beautiful days, 162 ugly ones.

5

5 Rafael Fuchs, photographer Mika EI-Baz, vice president, media relations Island Records, client Publicity portrait of Buster Poindexter.

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Advertising (series) Shin Sugino, photographer Daniel Andreani, art director Paul Lavoie, creative director Taxi Advertising & Design, ad agency Clearnet, client Ads for digital PCS and going wireless. Headlines: (Raspberries ad for the French market) La vie est un pique-nique ou il n ' y a jamais jamais de telephone public [Life is a picnic where there is never ever a public telephone]; (Lizard) We are all born free. Then some of us sign contracts with wireless phone companies; (Rocks) The road less traveled is great until you need a tow truck; (Chameleon) Finding yourself may be difficult, however don't make it difficult for others to find you .

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Advertising Philip Rostron, photographer Ken Morgan, art director BBDO Canada, ad agency Pepsi Canada, client Transit poster.

2 Garry Owens, photographer Rainer Kollender, art director Springer & Jacoby, ad agency levis-Germany, client Ad headline: Dark Blue.

3 Nadav Kander, photographer Steve Luker, art director Jeff Goodby/Rich Silverstein, creative directors Goodby, Silverstein & Partners, ad agency Nike, client Ad headline: life above the ankles.

4 John Morrison, photographer Kyle Friedel, art director The Richards Group, ad agency Kaepa Athletic, client Magazine ad.

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Advertising (series) Rodney Smith, photographer Delphine Valette, art director FCB, Paris, ad agency Canard Duchene Champagne, client Ad campaign.

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Advertising Gary Parker, photographer Dean Hanson/Gary Parker, art directors Fallon McElligott, ad agency Wow & Flutter, client Ad headline: Upon hearing the music, the account executive and his client seemed genuinely pleased .

2 Chris Gordaneer, photographer Amy Morrison, art director Bensimon Byrne DMB&B, ad agency Wonderbread, client Billboard headline: Part of a complete childhood .

3 Robert Mizono, photographer Jonathan Mackler, art director The Martin Agency, ad agency Saab Cars, client Part of a teaser campaign.

4 Steve Bonini, photographer Brian Murphy, art director Adidas International, design/client Ad poster.

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Books Kathryn Kleinman, photographer Chronicle Books, client Interior photograph from Backyard Bouquets by Georgeanne Brennan.

2 Pete Turner, photographer Random House, design/client Photograph from a mystery novel, Night Train by Martin Amis.

3 Christine Alicino, photographer Karen Kozlowski, photo editor Slatoff & Cohen Partners, design firm Chronicle Books, client Interior photograph from Read My Lips: A Cultural History of Lipstick

by Meg Cohen Ragas and Karen Kozlowski.

4 Chris Rainier, Saba, photographer Bulfinch Press, Little, Brown & Co., publisher Book jacket of Where Masks Still Dance: New Guinea, by Chris Rainier and Meg Taylor, a photographic documentation of the remaining indigenous tribes of New Guinea. Cover photo of an initiate about to enter the spirit house.

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Books (series) Robin Hood, photographer John Robertson/Jeff Carroll, designers Roberston Design, design firm Parker Hood Press, client Photographs from The Tennesseans: A People Revisited, a portrait of Tennessee people and traditions by Robin Hood and Barry Parker.

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Books (series) Susie Cushner, photographer Melanie Doherty, designer Melanie Doherty Design, design firm Chronicle Books, client Photographs from Deruta: A Tradition of Italian Ceramics, a large format art book explaining the history of ceramics in Deruta, by Elizabeth Helman Minchilli.

2 Ch risty McNamara, photographer Roberts Rinehart, publisher Interior photograph from The Heart of Irish Music.

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Editorial Robert Trachtenberg, photographer Sue Conley, art director Mark Michaelson, designer New York Magazine, client Interview with Mel Brooks and Carl Reiner, " The Shtick of Shticks."

2 Jill Greenberg, photographer Doris Brautigan, photo editor Entertainment Weekly, client Cover story on Howard Stern, "Springtime for Howard."

3 Tom Feiler, photographer Malcolm Brown, art director Carmen Dunjko, creative director Shift Magazine, design/client Cover story on Molly Parker, "L.A. is this mecca where actors have to make a pilgrimage, but I want to make it from here."

4 Will van Overbeek, photographer D.J. Stout, art director D.J . Stout/Nancy McMillen, designers Texas Monthly, client Profile of Texas-born actor Bill Paxton, "Bill, due."

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Editorial (series) Michele McDonald, photographer Common Boundary, client Photo essay of the annual pilgrimage up Croagh Patrick, a holy mountain in County Mayo, Ireland.

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Editorial Eric Mencher, photographer Mari Schaefer, page designer Philadelphia Inquirer, client For an essay on Cuban life.

2 Robb Kendrick, Aurora, photographer National Geographic, client Willowy sapling meets hulking oak at a sumo club in Fukushima City, "Sumo."

3 Jeffrey Thurnher, photographer Richard Baker, art director Jennifer Crandall, photo editor US, client Drew Carey, he's the ultimate everyguy-and, oh, yeah, a TV star.

4 Laurie Smith, photographer Jill Armus, art director Toby Fox, designer Maria Millan, photo editor Saveur, client Recipe for Alfajores, a layered pastry with sweetened milk filling.

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Editorial (series) Antonin Kratochvil, Saba, photographer Nelson Anderson, art director James Morris, designer Rose Cefalu, photo editor Detour, client Photographs of French actor Jean Reno .

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Editorial Darryl Estrine, photographer Doris Brautigan, photo editor Entertainment Weekly, client Article titled "Faces of the Oscars: Robert Duvall."

2 Dan Charkin, photographer Luis Barajas, art director Detour, client Feature article on Goldie.

3 Scott Sharpe, photographer Kate Anthony/Robin Johnston, designers The News and Observer, client Newspaper story on a woman who plucks eyebrows, "The Brow Beater."

4 Chris Wahl, photographer Barbara Solowan, art director Nadine Arseneault, designer Saturday Night, client Grace Jones performs live in Toronto for the Warhol Exhibit opening.

2

5 Robert Houser, photographer Christine Goodsir, art director Trish Gogarty, design director Marla Kittler, photo editor Adweek, client "Creative Snapshot," portrait of Suzanne Finnamore, creative director, FCB/San Francisco .

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Editorial (series) Andrew Holbrooke, photographer Edgar Rich, art director Smithsonian, client Article titled "The Hutterites," about a Mennonite sect.

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Editorial David Barry, photographer Mary Dunn, photo editor Entertainment Weekly, client Book review of restaurant critic Ruth Reichl's memoir, The Book of Ruth (Reichl).

2 Karen Kasmauski , photographer Connie Phelps, designer Elizabeth Krist, picture editor National Geographic, client "Earthly Aliens " take slow-motion undersea excursions at a resort hotel in Onna, Okinawa, Japan .

3 Eugene Richards, photographer Robert Priest, design director Charles Bowden, writer Danielle Place, picture editor Esquire, client "Bad luck on an Otherwise Fine Night." Heroin addiction in Plano, Texas.

4 Bob Sacha, photographer David Griffin, art director Bill Allen , editor Tom Kennedy, director of photography Elizabeth Krist, picture editor National Geographic, client "China 's Three Gorges: Before the Flood." Bamboo and plastic greenhouses allow intense cultivation of eggplant and peppers in China 's most fertile area, the Yangtze Valley.

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Editorial (series) Ed Kashi, photographer Joel Cuyler, designer Kathy Ryan , photo editor The New York limes Magazine, client An exploration of the aging of America's prison inmates at facilities housing elderly prisoners.

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Editorial Eric Van Den Brulle, photographer Cricket Lengyel, senior art director/designer Susan B. Smith, art director/ photography director Outside, client Article on Tibet.

2 Montalbetti+Campbell, photographer Jenny Grigg, art director HO, client Portrait of Australian actress Miranda Otto, "Miranda GOES OFF." 3 Bill Zules, photographer Chad Clausen, art director Trish Gogarty, design director Marla Kittler, photo editor Adweek, client "Wall of Fame and Fortune." Portrait of Stacy Wall, creative director, Wieden & Kennedy.

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Editorial Susie Cushner, photographer Andrea Arundel, photo editor Metropolitan Home, client Article titled "How to Cook With Green Garlic."

2 Fredrik Broden, photographer Jane Palecek, art director/designer Health, client "Don 't Face Stress Alone." It's no news that stress can make you sick.

But recent research says the solution isn't working less or playing more. It's having someone to confide in.

3 Jeff Sedlik, photographer/art director Kevin Maher, publisher Downbeat, client Cover portrait of jazz sax legend Wayne Shorter.

4 Dominique Malaterre, Tilt, photographer Mary Shea, photo editor Bloomberg, client Finance article on South America, "Top Hot Latin American Markets to See."

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Editorial Eugene Richards, photographer Eric Beckman, art director Fran~oise Riss, director of photography OS Magazine, client "Le Monde a I'Envers." Portfolio of work by major artists exhibiting at XXVIIIth Rencontres lnternationales de Ia Photographie in Aries, France.

2 David Strick, photographer Chris Dougherty, picture editor Premiere, client "David Strick's Hollywood," a monthly photo column.

3 Mark Seliger, photographer Richard Baker/Jennifer Crandall, art directors US, client Feature article on Kirstie Alley.

4 Robbie McClaran, photographer Janet Froehlich, art director Kathy Ryan, director of photography Evan Kriss, photo editor The New York Times Magazine, client "I Was a Teenaged Suspect." Article on a juvenile detention center.

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Editorial Joe McNally, photographer Sharon Okamoto, art director Marie Schumann, picture editor Life, client "Tranquility," Meaghan Heaney-Grier, the American record holder in free diving, finds peace in her favorite environment.

2 Sam Jones, photographer Alice Babcock, photo editor Entertainment Weekly, client Cover story on Matthew Perry, "A Friend in Need ."

3 Pej Behdarvand, photographer George Karabotsos, art director Axel Kessler, picture editor Out, client Portrait of actor Peter Frechette who profiles serial killers on the TV show "Profiler."

4 Seth Resnick, photographer Cynthia M . Davis, art director/designer CPS Creative Group, design firm Inc. Technology, client "Speed Demon." Portrait of Patrick Lancaster, CEO of Lantech, a company that makes shrink wrap.

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Editorial Fergus Greer, photographer Ferdinand Morton, art director Trish Gogarty, design director Marla Kittler, photo editor Adweek, client "National Agency of the Year" winners Bob Kuperman and lee Claw, TBWA Chiat/Day. 2 Sarah Reingewirtz, photographer Casey Christie, director of photography The Bakersfield Californian, client Newspaper article, "Deliverance." Evangelist Paul Jefferson assists Esther Hunter by a laying-on-of-hands as she goes through a deliverance under an open-air tent in Bakersfield.

3 Frank Herholdt, photographer Marc Belli, art director French Cosmopolitan, client Article about living with your partner and sharing a bathroom, "What Are You Doing In My Bathroom?"

4 Nina Berman, photographer David Friend, director of photography Dubravka Bondulic, associate picture editor life, client More Americans die of Anorexia than any other mental illness, yet insurance companies are refusing to pay for necessary care, "Starved Out."

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Editorial Joe Stefanghik, photographer Paula Nelson, editor John H. Davidson, assistant managing editor /visuals The Dallas Morning News, client Patients are chained to their beds to prevent escape from Papa Kitoco mental hospital in Luanda, Angola .

2 (series) Russell Monk, photographer Paola Sammartano, designer Zoom, client Essay on "Sangam;' a religious festival in India.

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Editorial (series ) Robert Yager, photographer Nick Hall, photo editor The Independent Magazine, client " Miss Exotic World," a reunion of aging strip-tease artists in California .

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Editorial (series) Steve McCurry, Magnum Photos Inc., photographer John Ychave, art director National Geographic, client "India: 50 years of independence."

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Editorial (series) Mary Rozzi, photographer Robyn Forest, art director Chris Ashworth/ Amanda Sissons, designers Lisa Von Weise, stylist Kevin Woon, hair Sariye, makeup Substance, design firm Ray Gun, client Article titled " Natural Born Colors. "

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Editorial (series) P.F. Bentley, photographer Arthur Hochstein, art director Susan Langholz, designer Michele Stephenson, director of photography Rick Boeth, photo editor Time, client Article on training the secret service, " How to Save a President. "

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1998

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Editorial Bob Frame, photographer Katherine O'Brien, art director Who Weekly, client Cover story on David Duchovny.

2 Mark Katzman, photographer Leslie Powell, photo editor Ms., client Ann Pittman has taken the responsibility to recreate African-American spirituals and make them part of history.

3 Eugene Richards, photographer/writer Jurek Wajdowicz, art director Lisa LaRochelle/Jurek Wajdowicz, designers Emerson, Wajdowicz Studios, design firm United Nations Development Programme, client

Choices magazine article," Journey to Safo." Eighty-year-old Rahamou carried her mortally ill great-grandson seven miles to a hospital. The child died.

3

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Editorial Eric Johnson, photographer Michele Romero, photo editor Entertainment Weekly, client Portrait of singer Paula Cole, "The (Un)Common Cole."

2 (series) David Burnett, photographer Michele McNally, picture editor Fortune, client Article titled "On the Road with Chairman Bill Gates."

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Editorial (series) Edward Gajdel, photographer Mary Shea, art director Bloomberg, client Portraits of William Gross and Sophia Collier.

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Editorial Bob Krist, photographer Albert Chiang, art director Joan Tapper, editor Islands, client A participant in a lifeguard competition. "The Sands of Summer: Islands of the New Jersey Shore."

2 Jeff Day, photographer Mia Dilorio/Kira Pollack, photo editors The New Yorker, client Masquerade Ball, Napolean House, illustrated Calvin Trillin's

article "New Orleans Unmasked," a chronicle of the changes to Mardi Gras in the seven years since the city enacted a controversial anti-discrimination ordinance.

3 Peggy Sirota, photographer Fred Woodward, art director Fred Woodward/Gail Anderson, designers Jodi Peckman, photo editor Rolling Stone, client Portrait of k.d. lang from "Women in Rock," the 30th anniversary issue.

4 Deborah Feingold, photographer Arthur Hochstein, art director Kristin Fitzpatrick, designer Michele Stephenson, director of photography

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Marie Tobias, photo editor Time, client Article on writer Toni Morrison, "Paradise Found."

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Editorial (series) Karina Taira, photographer Sussane Stefansky, art director/designer Madame, client Evening dress series for Madame, "Fernostliche Poesien."

(Far eastern poesy.)

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Editorial (series) James Whitlow Delano, Saba, photographer Rick Jost, art director Windy Shum/Dawn Chuck, designers Stephanie Heimann, photo editor Discovery, client "Chasing Memories," images of Asia.

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Editorial Michael Lavine, photographer Florian Bachleda, art director Mark Michaelson, designer Margie Goldberg, photo editor New York Magazine, client Magazine's selection of the city's top four restaurateurs, "Tastemakers." From left to right: Keith McNally of Balthazar; Daniel Boulud of Daniel; Sirio Maccioni of Le Cirque 2000; and Jean Georges Vongerichten of Jean Georges.

2 Bryce Duffy, photographer Carol Moskot, art director The Globe & Mail, client Portrait of Gary Oldman to accompany an article about him and his new film Nil By Mouth.

3 David Strick, photographer Chris Dougherty, picture editor

5

Premiere, client Monthly photo column called "David Strick's Hollywood."

4 Micheal Mclaughlin, photographer Dave Allen, art director Susan B. Smith, photography director Outside, client Magazine article, "Murder in the Caribbean."

5 Evan Kafka, photographer William van Roden, art director Carl Lehmann-Haupt, creative director Metropolis, client Portrait of designer Dakota Jackson who would prefer to be remembered as an industrialist, "Decoding Dakota."

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Editorial Mary Ellen Mark, photographer Mary Dunn/Sarah Rozen, photo editors Entertainment Weekly, client Portrait of Bud Cort for an article titled, "The Classics: Harold and Maude."

2 Patrick Harbron, photographer Marti Golon, art director Jay Colton, picture editor Time, client

Time Digital article on wacky Web sites. Michael Lewis collects wetnaps from restaurants "kook.com."

For Sale 3 Craig Cutler, photographer Argentina landscape.

4 Scott Canterbury Campbell, photographer Notecard.

5 David T. Waldorf, photographer/art director FPG, client Image used for stock.

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For Sale 1 (series) Barbara Abel, photographer

Perfection, Tragic Beauty, Cattle Call and I do.

2 Alan Ross, photographer/ art director Limited-edition print.

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For Sale (series) Theo Westenberger, photographer/art director/designer/client Images used for stock and sale titled Exotic Animals and Car.

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Institutional (series) Roger Lemoyne, Gamma-Liaison, photographer UNICEF, client Series of images documenting the United Nations effort to repatriate Rwandan refugees fleeing Kabila's rebel force.

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Institutional (series) Karen Kuehn, photographer Don Morris, art director Josh Klenert/Jennifer Starr/Cay Tolson, designers Don Morris Design, design firm Sundance Institute, client Sundance Film Festival Awards Night program.

2 Stewart Charles Cohen, photographer Jim Good, art director Good Design, design firm Texas Instruments, client Opening press kit for Kilby Center at Texas Instruments.

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Institutional David Mendelsohn, photographer Todd Hauser, designer Pinkhaus, design firm Sun International, client Annual report.

2 Radhika Chalasani, photographer Anneliese Hollmann, art director United Nations High Commissioner for Refugees, client Documentation of Rwandan refugee relief efforts in Eastern Zaire.

3 Robert Holland, photographer Steve Haesche, art director Mullen Advertising, Inc., ad agency EdgeWater Boats, client Catalog image demonstrating why small boats need to be safe and well-built.

4 Lonnie Duka, photographer Tom Devine, art director/designer Baker Design, design firm Fluor Corporation, client Annual report.

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Institutional (series) Stuart Redler, photographer/art director Zuhair Fayez Partnership, client Images of buildings designed by the client.

2 Roger lemoyne, Gamma-liaison, photographer UNICEF, client Documentation of the United Nations effort to repatriate Rwandan refugees fleeing the advance of Kabila's rebel force .

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Institutional Trent Foltz, photographer Paul Jarvis, art director Louis London Advertising, ad agency Aim High, client Image used for informational/fund raising awareness and sponsors.

2 George Kamper, photographer Janet Fried/David Hoyt, art directors Janet Fried, designer Idea First, Inc., ad agency Via Health, client Annual report.

3 Radhika Chalasani, photographer Anneliese Hollmann, art director United Nations High Commissioner for Refugees, client Documentation of Rwandan refugees in the jungle of Kisangani, Zaire.

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Institutional Roger Lemoyne, Gamma-Liaison, photographer UNICEF, client Documentation of the United Nation effort to repatriate Rwandan refugees fleeing the advance of the rebels.

2 Jon Warren, photographer Tim Saasta, designer Charitable Choices, ad agency Mennonite Central Committee, client Cover of A Guide to Accountable Charities.

Self-Promotion 3 Pete McArthur, photographer/client Tracey Shiffman, art director Rick Elden, designer Source book ad.

4 John Mireles, photographer Direct mail piece.

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Self-Promotion (series) Pierre-Yves Goavec, photographer I art director Deana Kuhlmann/Michael Thede, designers Douglas Oliver Design Office, design firm Goavec Studio, client 2 Peter Carter, photographer Scott Conklin, art director Peter Carter Photography, Inc., client Source book ad .

3 Francine Zaslow, photographer Selene Eymer, designer Eymer Design, design firm Francine Zaslow Photography, client Used in an accordion fold mailer.

4 William Neill, photographer .Jim Alinder, art director The Alinder Gallery/Bulfinch Press, Little Brown and Co., clients Mailer announcing exhibit from, and publication of, monograph

Landscapes of the Spirit. Image title Dawn, Lake Louise, Banff National Park, Canada.

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Self- Promotion (series) Sean Kernan, photographer/art director/client Mathew Garratt, designer Images used on the photographer's Web site.

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Self-Promotion Scott Ferguson, photographer Catherine Woods, art director DMB&B St. Louis, ad agency AAAA, client Invitation to AAAA's 1997 creative symposium. The theme was The Seven Sins, "Gluttony."

2 Larry Towell , photographer Jurek Wajdowicz, art director Lisa LaRochelle/Jurek Wajdowicz, designers Emerson, Wajdowicz Studios, design firm E.B. Eddy Paper, Island Paper Mills Division, client Paper promotion .

3 Stuart Hall, photographer/art director Mailer.

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Self-Promotion (series) Sean Kernan , photographer/client James Pettas, art director Keiler Advertising, ad agency Mailer.

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Self-Promotion (series) John Huet, photographer/client John Dames, art director/designer Core, ad agency Promotional ads.

2 Kathrin Miller, photographer Mailer and leave-behind.

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Unpublished (series) Patrick Tehan, photographer Portuguese bullfighting in California. © 1998 Patrick Tehan

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Unpublished (series) Mark laita, photographer/art director © 1998 Mark Laita

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Unpublished Nancy Pastor, photographer Contestants for the Tobacco Festival Queen.

Reigning queen Tia Benton rehearses her speech. © 1998 Nancy Pastor

2 Paula Lerner, photographer From a documentary project, A Widow on Welfare:

An Untold Story. Although the roughhousing with her son is meant to be playful, the strain of two years of single parenting shows through . © 1998 Paula Lerner

3 Steven Edson, photographer/art director/client Exploration of merging painterly effects: Cabanas/Cape Cod.

2

© 1998 Steven Edson

4 Susan Vogel, photographer © 1998 Susan Vogel

5 Richard Schultz, photographer

Portrait of town mayor in Asmara, Turkey on the Black Sea coast . © 1998 Richard Schultz

6 Jed Jacobsohn, photographer Outtake from a shoot for Allsport USA. Evander Holyfield's ear chewed by Mike Tyson . © 1998 Jed Jacobsohn

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Unpublished (series) Richard Robinson, photographer/art director Paris scenes. © 1998 Richard Robinson

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Unpublished James Leynse, Saba, photographer Man on Wall. This man seemed crushed by the monumental scope of Communist China 's history depicted below him, part of the People's Hero Memorial in Huangpu Park. © 1998 James Leynse

2 Mia Rosado, photographer/art director Artist Margo Matsuura at a gas station in South Carolina. © 1998 Mia Rosado

3 Hans Neleman, photographer Carol Fox, art director

5

Print ad to be used for AGFA. © 1998 Hans Neleman

4 Harald Sund, photographer/art director/designer The Image Bank, client © 1998 Harald Sund

5 Wayne Cable, photographer David Jones/Joe Burke, art directors Outtake from NBA Dreams. © 1998 Wayne Cable

6 Charles Harris, photographer/art director Stone Soup Productions, client Blue Canoe. © 1998 Charles Harris

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Unpublished (series) Donald Graham, photographer Rastafarian Series One. © 1998 Donald Graham

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Unpublished Nedjeljko Matura, photographer Personal project. © 1998 Nedjeljko Matura

2 Paula Lerner, photographer Portrait of Lisa, personal work. © 1998 Paula Lerner

3 Douglas E. Walker, photographer © 1998 Douglas Walker

4 Key Sanders, photographer Satellite dish . © 1998 Key Sanders

5 Robert Sebree, photographer © 1998 Robert Sebree

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Unpublished (series) Gideon Mendel, Network, Saba, photographer These photographs show the human dimensions of the AIDS epidemic-how it is affecting the lives of people in two Sub-Saharan countries : Zambia and Tanzania.

They also show the work being done by many dedicated and brave individuals (many of whom have the disease themselves) to combat the problem with education and care . © 1998 Gideon Mendel

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2

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4

Unpublished Ryan Alexandra Blakey, photographer © 1998 Ryan Alexandra Bla key

2 Paul Wakefield, photographer Bun Festival Hong Kong . © 1998 Paul Wakefield

3 Jim Erickson, photographer © 1998 Jim Erickson

4 Brian Bailey, photographer Steve Bateman, art director Unpublished trade ad for healthcare product in development. © 1998 Brian Ba iley

5 Blaise Hayward, photographer Portfolio piece. © 1998 Bla ise Hayward

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Unpublished Glen Wexler, photographer Two blimps passing in the night. © 1998 Glen Wexler

2 Leen Thijsse, photographer

© 1998 Leen Thijsse

2

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(tear here)...._

cuts the mustard

Cutting is the only option.

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The name of the paper: Y u Po (You-poe).

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Yet Yupo prints dazzlingly well. Bright, white, and super-smooth, it holds ink

with razor edge precision.

Plus, it can be foil-stamped, embossed, die-cut, or perforated. Yupo is superb for maps, posters, pamphlets, catalogues, banners, labels, manuals, and point-of-sale material.

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Editor's Column

BY PATRICK CoYNE

T

his issue features the winners of the largest photography competition we've ever held. This year we received a record 8,015 entries, 8.1% more than last year. While we're pleased with such a healthy number of submissions, this year's record number of entries pushed our staff to the limit in processing everything in time for the judging. Our jury also took a collective deep breath when confronted with numerous boxes of print entries and 100 slide carousels.

Baer

Flagg

Despite the continuing migration to digital technology (over twenty percent of the winning photographers sent their reproduction material as digital files), this year's winning entries show little visible computer influence. Black-and-white and tinted black-and-white images still dominate the book as does a reportage style of realism. That's not to say that color isn't also well represented, but the pushed color gels, so popular a few years ago, appear to be on the wane.

This year's jurying began on Sunday morning, April 19th, at Hyatt Rickeys in Palo Alto. We worked in two large conference halls, each equipped with a projector for slide entries and five rows of tables for tearsheets and proofs.

Hochstein

The jurors worked in two groups of three, I was the sixth judge during the screening process. All but the smallest categories had been divided so each team screened half of the entries submitted. The jurors alternated between viewing a carousel of slides and then a setup of print entries.

The final voting took place on Monday. A schedule conflict prevented Danielle Flagg from participating in the final round so I stepped in as the fifth judge. Print entries were again spread out on the tables. Two paper cups, one white for "in;' the other red for "out," with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a colored tile into the bottom of the appropriate cup. The different colored tiles allowed us to make sure that every entry was voted on by every juror. Finalists on slides were voted on by each juror checking "in" or "out" on scoring sheets.

Three or more votes put an entry into the Annual. One hundred and eighty-five entries were chosen representing the work of 162 photographers. These accepted entries were treated as equals in the design of the Annual. Decisions on size and placement were based on reproduction evaluations, pacing and the need to control press channels and ink usage for web printing.

I would like to thank our juror's conscientious efforts in selecting the 39th Annual Photography Exhibition.

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Bartholomay

Bieber

No lie, the job was a real beast. Six ads for Chim Pan Zee Szechwan Style Smoothies in one day! I worked all night, picked fresh images from The Stock Market, performed my best design ."www.stockmarketphoto.com .te at httP·" Visit our We b Sl

tricks and g0 t it all d0 ne.

In the morning, my boss pats me on the head and says thanks. That's

the

reward I got.

Luckily, The Stock Market didn't let me down they sent me a gift certificate for neat stuff at The Sharper Image.

They even bumped me up to Gold membership status in the SharperSTOCK program. It was nice to see a great rewards program evolve into something even better.

SharperSTOCK The stock photography rewards program

THE STOCK MARKET PHOTO AGENCY• FOR REWARDS PROGRAM INFO CALL 800.999.0800

Editor's Column Kimberly Baer is principal/creative director at Kim Baer Design Associates, in Los Angeles, a multidisciplinary design studio creating annual reports, brochures, identity systems, packaging, Web sites and promotional graphics for corporate, institutional and non-profit clients. Clients include 3Com, Bank of America, IBM, Wellpoint Health Systems, Carl's Jr., UCLA and Nissan. KBDA has been recognized by the AlGA, Art Directors Clubs of New York, Los Angeles, Houston and the Western Art Directors Club and Communication Arts, Graphis, Photo/Design and Print magazines.

Kim has taught at UCLA, Otis/Parsons and the University of Quebec. She is on the Advisory Board of AlGA/Los Angeles Chapter, has served on the jury of the Mead Annual Report competition and has been a speaker at the National Investor Relations Institute annual report conference.

Lucy Bartholomay is the deputy managing editor/ design of The Boston Globe. Prior to this she was the art director of The Boston Globe Magazine. Her work has been recognized by Communication Arts, Graphis, New York Art Directors Club, Print, Society of Newspaper Design, the

many books and publications.

Danielle Flagg is an art director at Wieden & Kennedy in Portland, Oregon, where she works on the Nike account, among others. Previously, she worked as an art director and designer for six years at New York-based Weiss, Whitten, Stagliano, Inc.; clients included Guerlain, Guinness, Giorgio Armani and Swatch. After receiving a B.A. in Art History from Hamilton College, Flagg worked at Ammirati & Puris on Club Med, Schweppes and BMW. Her work has been recognized by the Art Directors Club, Andy Awards, Com-

munication Arts, EFFIE Awards, Kelly Awards and the Portland Advertising Federation Rosey Awards. Danielle's hobbies include bass fishing, NASCAR and needlepoint.

Arthur Hochstein is the art director of Time magazine.

He oversees a staff of twenty, including an informational graphics department. His role combines his appreciation of the written word with his love of the visual image. Each week Arthur conceptualizes and designs Time's cover and oversees

Society of Publication Designers and the Type Director's Club. Before working at the Globe, Lucy served as art director for the now-defunct Real Paper and Boston Monthly.

the design of all of its pages. After studying journalism at

Tim Bieber is a commercial director and owner of his

he resigned as graphics director and Sunday Magazine edi-

own film production company, Mr. Big Productions, based in Chicago. Shooting on location, rather than stages or sets, has taken him all over the country and around the world. His recent projects include TWA, Andersen Windows, Hunter Ceiling Fans, Philadelphia Tourism, ESPN magazine, Boy Scouts of America and Bell Atlantic. He began his career as a roving photographer for the Manistee News Advocate, a small newspaper in Northern Michigan. Equipped with a range of experience and a pair of Leicas, Bieber then headed to Chicago to start freelancing in commercial photography.

Tim has won numerous awards for both his photography

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and cinematography and his work has been featured in

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the University of Missouri-Columbia, Hochstein held a number of editing and design jobs in his native St. Louis. In 1985 tor of the soon-to-be-bankrupt St. Louis Globe-Democrat.

Employing time-honored networking techniques, he finagled a freelance stint at Time. Foot firmly placed in the door, he refused to budge until Time named him art director in January of 1994. The rest is a sordid tale of late nights, rich food and much professional fun. Hochstein's work has been cited by Art Directors Club of New York, Communication Arts, Graphis, Print, The Society of Publication Designers and other organizations. He lives in New York City with his wife and esteemed colleague Linda Freeman (yes, they are the same person) and a miniature dachshund named Shorty. •

vision as language.

pete mcarthur

stock without stigma. 310-815-1951

www.petemcarthu r.com

Contributors Features

Tom Monahan was a founding

of Providence, Rhode Island. He

partner of Leonard.Monahan

To Shoot Stock Photos That Sell

is the president of Before & After creativity training and

graphics of all description. She

cisco-based writer and producer

and co-author of Pricing Photography. She is a frequent lecturer on stock photography at seminars and workshops and lives in New York City. For

is also a consulting editor for

of interactive multimedia pro-

the Legal Affairs column, we

Interactivity magazine and 3D Design magazine. Based in San

jects for a number of Bay Area

ative leaders ad series. He has written and edited our Advertis-

Francisco, California, Maher

to teaching "Real World Writ-

spends enormous amounts of

ing for Interactive Multimedia" at San Francisco State Univer-

excerpted a chapter from her latest book, Stock Photography Business Forms, published by Allworth Press.

from Extensis, for our Technol-

Kathleen Maher is a freelance

writer specializing in computer

time in movie theaters staring at

ogy Reviews column.

Sam McMillan is a San Fran-

production houses . In addition

big screens as a relief from star-

sity's Department of Multimedia

Dr. Joe Webb is a nineteen-

ing at little computer screens.

Studies, McMillan writes fre-

year veteran of the graphic arts

She wrote the technology fea-

quently about topics concerning

ture on digital cameras.

the interactive multimedia

industries. A recognized marketing expert and leading industry figure, he has consulted with a wide range of firms, including: 3M, Agfa, Fuji, HPS, Heidel-

design industry. He wrote the

Columns

Technology Resources column.

Wendy Richmond is recog-

nized internationally as an innovator and commentator on visual communication and

David Sterling is founder and

principal ofWorld Studio, a

involved with computer-based media since 1977, beginning with research in design at Massachusetts Institute of Technology. She has participated in the formation of software companies to develop new communication media and tools

berg, International Paper, Kodak, Polaroid, Potlatch, R.R.

New York-based cross-cultural,

Donnelley, Scitex, Sun Chem-

multidisciplinary design firm

ical and Xerox. In 1995, Dr. Webb founded the TrendWatch reports and established Trend-

and non-profit foundation that

technology. She has been

158

by stock photo agencies that sell in the United States and overseas. She is the author of How

seeks to deepen the involvement of the creative professions in a variety of social agendas . He received an MFA from the Cranbrook Academy of Art in 1978 and upon moving to New

York landed the position of art director for ID magazine where he remained for three years.

and co-founded the Design Lab

Sterling joined forces with for-

at WGBH TV Her writing and

mer alumni Jane Kosstrin in

teaching focuses on this ques-

1979 and established the design

tion: How is technology affect-

firm Doublespace. As their first

ing the way we communicate?

project, they started Fetish: The

Wendy is a NEA grant recipient

Magazine ofthe Material World.

and has served on numerous

The success of this venture

advisory boards. She has taught

brought them some of their

at MIT, the School of the

first major clients including

Watch as a new business in 1997 with partner James Whittington.

consulting in Tiverton, Rhode Island. He has won numerous creative awards and was featured in the Wall Street journals cre-

ing column since 1990.

Book Reviews Byron Ferris has written for

CA for over 30 years. As a former college design instructor and creative director at McCann Erickson, his interests are in design, advertising, letterform and typography. One of his most recent projects is the writing and exhibit design of "A History of American Advertising, " the centerpiece of The American Advertising Museum in Portland, Oregon, of which he is one of the founders.

James R. Whittington is a

Angelynn Grant is a Boston-

national small business strate-

based graphic designer, writer

gist and marketer with 25 years

and educator. She has taught at

experience in industry and management consulting. Prior to starting his consulting firm in

Rhode Island School of Design, the Art Institute of Boston, Simmons College and MIT. Her

1985, Mr. Whittington was a

freelance work ranges from com-

marketing executive with Times Mirror's aviation publishing

You can view her work on her

company, Jeppesen Sanderson.

own site at www.sho re.net/

He has also held executive and management positions with Union Camp, US Industries and National Graphics.

..-agrant. In addition, she is the

host of a jazz program on MIT radio, WMBR.

chief of a small publishing house

pact discs to Web site design .

Stephen Orr is the editor-in-

Museum of Fine Arts (Boston),

the American Museum of the

Barbara Gordon, an artist and

Northeastern University and

Moving Image, the Brooklyn

also manages a bookstore in

located in Silicon Valley. He

currently teaches at Harvard

Academy of Music and Barneys

University. Her column has

New York. In 1992, Sterling

photographer representative since 1969, is a past president of the Society of Photographers

appeared in Communication

founded World Studio. He

and Artists Representatives and

He has conducted research in

Arts since 1984 and her book is titled Erasing the Boundaries.

wrote the Design Issues column,

Paris on the role of conspiracy

Pat Soberanis is a San Fran-

Michal Heron has been a suc-

a member of the Society oflllustrators and the Graphic Artists Guild and is also the author of two books. She heads her own

edited by DK Holland.

cisco-based writer and editor.

cessful freelance photographer

Her Web site, The Publishing

for more than twenty years. In

Resource, is at www.soberanis. com. She tested PhotoFrame 1.0 P H 0 T 0 G R A P H Y

Mountain View, California.

theories during the French Revolution and is currently working on a book about conspiracy theories from the time

addition to running her own

firm, Barbara Gordon Associates, in New York City. She has written on freelance issues for

sent day. He lives in San Fran-

stock business, she is represented

CA since 1982.

cisco with his wife and daughter.

A N N U A L

I

9 9 8

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Seeing is Believing

"Right now, " says Robinson, "digital cameras are having little impact on the conventional camera market. " The group's

Digital cameras are in use, but who is using them and why?

most recent study found that only two million digital cameras were sold last year worldwide. In contrast, 85 million silver halide cameras were sold. Robinson believes that

BY KATHLEEN MAHER

T

digital cameras have yet to meet their promise in the marker.

he revolution is over. Digital cameras are a reality for consumer and professional use. Even though the revolution may be over, the debate is just getting

"If you compare the imaging with silver halide , the performance of the digital cameras is inferior in terms of image quality, " says Robinson, who is careful to stress that image quality includes not only resolution (the number of pixels

good. The vast majority of professional photographers are still working with traditional cameras, but gradually the new technology is creeping in. On the other hand, Ian Robinson of Concord, Massachusetts-based Photographic Consultants, Ltd., a research and analysis firm, says that most digital cameras in the United States are sold for professional

which have very limited flexibility in terms of light and the

purposes rather than for home use. Many photog-

newer, less expensive CMOS sensors which are appearing

per image) but also the dynamic range , the exposure latitude. In silver halide technology, films such as Kodak Gold Max® are appearing with more dynamic range. In contrast, most digital cameras are based on CCD sensors

in low-end consumer cameras are even worse.

raphers, graphic designers, advertising agencies and photojournalists are

Robinson concedes that digital cameras have their place now. The output

adding digital photography to their list of options, but they're often using the cameras in

of digital cameras is good if consumers are willing to view their images on the PC, and he agrees

unexpected ways.

that the ability to instantly

It's about time, some would

transmit data is valuable in a

say. In the professional realm, digital cameras have gotten off to a slow start. The first cameras

variety of cases, such as accident reporting. However, Robinson is unswayed by the enthusiasm

introduced over seventeen years ago were expensive and they could not produce the quality required for

of camera manufacturers, most of whom, he says, are losing money on digital cameras. "There are too many

commercial photography. Now there is a digital camera for every use, from low-end point-and-shoot

competitors," says Robinson. Instead, he ~ believes that the price per pixel will have to continue to drop and that

cameras costing under $300 and suitable only for online transmission, to SLR cameras, to high-end studio cameras

range is required. "We talked with Kodak," says

costing as much as $5o,ooo and capable of

Robinson , "and they said that at least 6 million pixels are

a technical breakthrough for better dynamic

capturing high-resolution images suitable for poster work.

There are big differences between the cameras designed for consumer use and those designed for professionals. Some observers watch the crashing costs and fast growth in the digital consumer market and see a boom market. Others look at the numbers and see a more sobering picture. For example, market researchers In-Stat, of Scottsdale, Arizona, estimate that the dollar value of digital cameras will grow to $6 billion by 2002, and they say that digital camera shipments for I997 more than doubled over I996. lnfoTrends, another research group based in Kansas City, Missouri, lumps

162

required for a good 4 inch print. For now, only the I million and 2 million pixel cameras have dropped to under $I,ooo."

That's too much money for consumers and too little resolution for professionals.

Fast, cheap and out of control Nonetheless, there are professionals who aren't waiting.

Jody Dole is a New York photographer who made his name with a worldwide advertising campaign for Smirnoff Vodka in I990 (see Communication Arts, May/June I997). He's an enthusiastic advocate of digital photography and uses all

digital still cameras, digital tethered and scanners together and estimates that 3 million units were sold in I996 and they expect to see an annual growth rate of 55% to 26 million units for the year 2001. In comparison to the traditional

Milwaukee-based Hanson/Dodge used a Leaf digital studio camera to photograph elements they then collaged digitally for the final

market, however, these are still relatively modest numbers.

Ferrise/Mark Salewsky, retouching.

P H 0 T 0 G R A P H Y

A N N U A L

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Above : Cover image for a brochure for American Appraisal.

images used throughout the brochure. Leslie Worth, art director; Clay Feller, creative director; Mark Salewsky, photographer; Gina

~ ~ ~

Left: For this catalog for Nordstrom, The Leonhardt Group used a Kodak DC40 in-house to photograph shoes for a highly-developed full-color comp output as a color photocopy.

Once approved, traditional photography was used for the final printed version of the brochure. Greg Morgan, lead designer/art director; Janee Kreinheder, designer; Andrea Garrett, electronic production; Don Mason/John Rees, photographers.

... . .....,........... .................................................. , _,,, ,,., 1-ll oo . _ , , . o-t1 o o-oo o• 51.9S "'"" ''" """'"' .JI .9J •• ••••• • h .. o

the images in presentations or as a reference for a redesign.

Also, he says, the company will take pictures of signs in their environment to see how they're working. In the office, Leonhardt's design team will use the cameras to shoot still lifes and design a layout.

However, when it comes time for a photo shoot, the company usually buys traditional photography. The only reason Leonhardt would opt for digital photography for

kinds of digital cameras from handy P&S cameras to the Danish-built Phase One®studio camera back. Dole lists the advantages of digital cameras this way, "No film cost, no processing cost to speak of, no waiting for processing, no pollution from processing chemicals, no scan costs, no waiting for scans and retouching and dropping into layouts can happen right away. " He uses P&S cameras out in the field to record locations, props and create test shots for clients. The ability to e-mail photos instantly back and forth gives Dole the capability to work in close contact with his clients. But Dole also finds that he responds to the absolute freedom offered by P&S digital cameras as well.

"Some of the best pictures I think I've ever made, I made out in Arizona with my kids , the Sony Mavica®and a box of 49 cent floppy disks. It's like a digital pinhole camera.

We made huge blow ups from the Sony's 900K files on the Iris®printer and the images are among some of my most treasured works. "

a finished product over traditional photography is when speed becomes the overriding issue. For example, he mentions a case in which the company had created packaging

Ted Leonhardt of Seattle-based The Leonhardt Group, specializes in brand creation. Their work runs the gamut of digital media, annual reports, "branded environments," signage, print advertising, online media, etc. The firm relies a great deal on the relatively inexpensive, low-resolution Kodak® DC4o to create rough layouts and comps. In fact, the company uses the digital camera like a mobile copy machine. For instance, in a case where they are working with a logo or recreating a logo, they'll go out and shoot a company's signage. Then, says Leonhardt, they can use

and professional photographers alike is the presence of the LCD screen for composition. Chris Morris is a Time maga-

for a beer company. "Suddenly we got an opportunity for a media story that would be great for us and our client but we had to turn it around in one day. We used a digital photography studio for that and we were able to do a little touch-up in Photoshop®to get the effect we wanted."

P&S cameras are very different beasts from traditional cameras, and it is for that reason they are helping to create their own medium. They have their own lenses with very limited flexibility. On the other hand, many P&S cameras incorporate many features inside the camera such as the ability to shoot in monochrome or color, to use different aspect ratios, to shoot multiple exposures and to manipulate image quality in the camera.

One of the most useful features of digital cameras for amateur

zine photojournalist who works a great deal in dangerous situations including war zones and natural disasters. Kodak gave him one of their professional DCS 520 SLR cameras to try and overcome his misgivings about digital photography.

In spite of all the built-in similarities a digital SLR has to traditional cameras, the feature Morris seems most enthusiastic about is the digital camera's ability to provide instant feedback about a shot via the LCD screen. "It's faster than C 0 M M U N I C A T I 0 N

A R T S

163

a Polaroid®and you don't need a light meter," he says. "You get out of the car, you can just fire off a few frames and you see your angle's right, if you need to go to the left, if you need to go to the right-if maybe you should use a long lens, short lens. "

Digital technology and the photojournalist's edge Photojournalists like Morris may be working in war zones or on the sidelines of a football field. The two key features of digital photography, speed and immediacy, describe their work. For that reason, The Associated Press became interested in digital photography in the early '90s, as soon as the technology began to seem practical. "Back in 1991-92 we were on the hunt for digital photography for one special reason. We had just implemented a satellite delivery system, we had severed the old way we used to deliver images to newspapers. It became obvious that digital photography would be a boon to getting pictures on the wires as fast as possible, " says director of operations/business development for the AP, Jim Gerberich.

AP first used digital cameras for the 1992 political convention. The challenge then was to get pictures on the wire as fast as possible. Previously, photographers would shoot their film, get back to the hotel room , process the images, scan them and transmit them. At best, says Gerberich, it was a two-hour process. "At the 1992 conventions, we used Kodak DCS roo and 200 cameras. We were able to take a photograph and have it delivered in ten minutes or less to all the newspapers in the United States. In the news world, that meant we had this huge edge in relevancy. "

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The cameras the photographers were using were SLR-type digital cameras based on traditional 35mm camera bodies.

Other than the digital technology, the cameras were similar to those the photographers were used to using and accepted the same lenses. However, the cameras were not perfectly suited to the AP's requirements. As a result, the AP and Kodak worked together to build a camera for photojournalism. "Their products were good, but they didn't fit the stress of photojournalism," says Gerberich. AP wanted higher ASA equivalents for more flexibility in shooting in different lighting situations, they needed faster frame rates to capture moving subjects and they needed good color.

The AP and Kodak brought the AP NC 2000 to market in

Above: Sam's Crab Overhead made with Phase One Power Phase digital

1994. It was built on a Nikon camera body and it had ASA equivalents of 200 to r,ooo (newer versions of the camera have an ASA equivalent up to r,6oo). With this camera, the

camera back and Hasselblad 503 camera, 120mm lens, unretouched.

AP started making the transition to digital photography, but that doesn't mean the photographers immediately embraced the technology. "In 1994 and '95 we were kind of setting a foundation. We had learned to harness the technology and we began doing assignments digitally. Part of 164

P H 0 T 0 G RAP H Y

AN N U A L

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9 9 8

Jody Dole, photographer.

Cathedral Rock, Sedona, Arizona, photographed by Jody Dole. "Sunrise, mid-afternoon and sunset all merged into one image made with an Olympus P&S digital camera, assembled in Adobe Photoshop."

Youth soccer match photographed with a Kodak Professional DCS 520 digital SLR and a Canon EF 200mm lens (equivalent to 320mm), 1f2.ooo second @ /4.5. Because the CCD image sensor in the camera is smaller, cropping the standard 35mm frame format, lens focal length is magnified by a factor of 1.6 x and the reflex viewfinder is masked to match.

the challenge was convincing people that this was the way to

in I994· Earlier, he was one of the first photographers to

go. " Although there were early adopters eager to use the new

spring for his own Iris printer and he also owns a Howtek®

cam eras, the AP also had to convince their ranks of talented

4500 drum scanner. For Dole, the computer is an impor-

and experienced photographers like Morris who were reluc-

tant part of the photographic process. With his own scanner,

tant to give up tried-and-true methods. "There were people

Iris printer and imaging software, Dole is able to rely on his

who could not bear the thought of not having film. "

instincts and experience for output. He's not at the mercy

T h e change came about a year after the introduction of the

of the processing house. One of the big issues in digital

AP NC 2 000 , with the bombing of the Oklahoma Federal

imaging today is color calibration. When working digitally,

building, explains Gerberich. "Here was this guy, an AP

it can be difficult to know for sure what the output is

photographer who gets the call, he goes to the building, he's

going to look like. Dole explains, "When it comes to color

got the shot of his life and he grabs a digital camera. This

management, I simply rely on my own eyes and the past

guy had a trunk full of cameras but he grabbed his digital

experiences of thousands of trial-and-error scans, digital

cam era." With that stunning photo, cam e a wholesale change in attitude in

captures, Iris proofs, color tables, LVT Chromes, separations and match prints.

photojournalists toward digital photog-

When I started doing this, there were no

raphy. ''I'd call it a m ajor milestone,"

workable color management systems

says Gerberich.

available. " He has experimented with

M ter that, the AP began to rely almost completely on digital cam eras . "W e tracked the I9 96 Super Bowl without a roll of film ," says G erberich. "We had I8 photographers

on the field and

automated color calibration technologies, but he has discarded them in favor of his own experience, knowledge of his equipment and instincts. For Dole, that's what separates him from the amateurs.

In many cases, digital photography

every one had

is turning photographers into computer experts,

2 cameras , and

or vice versa. The design firm, Hanson/Dodge in Milwaukee,

we didn't shoot

Wisconsin, has clients who want design for a variety of

any film-we pho-

media including print, electronic design, catalog and

tographed about Io,ooo to rr ,ooo images in 4 hours or so.

packaging. President Tim Dodge says the company began

We took that same concept to political conventions. "

evaluating digital technology about four-and-a-half years

In the studio

studio, they went digital all the way. "We had been buying

The final destination of the photo determines the type of

a lot of photography. We started looking at digital photog-

ago and when they decided to set up their own internal

camera that's most appropriate for the shot. SLR cameras

raphy, what systems were out there and we were in kind of

built on traditional camera bodies will suit many photog-

a wait-and-see mode. Then, three years ago we bought a

rapher's requirements. These cameras can deliver high-

system to do high-end photography, a Leaf®camera system.

resolution images of 6 million pixels and if the final format

We needed to do high-level catalog work and we couldn't

is 5 X 7, newspaper or Web work, they're going to be more

sacrifice quality. That was the deciding point for us. "

than adequate. In the studio, however, size matters. Jody Dole has used the Phase One camera back for cover shoots for the N ew Yo rk Times Sunday Magazine, where, he says, "Editorial directions change on a moment's notice. " Dole relates, ''I've shot several covers of the magazine with my Phase One, e-mailed them across town and they were mocked up before I could dial a messenger. "

The Leaf camera is designed for studio product shots. A photo is created in RGB by making three separate exposures and then the image is converted to CMYK on the computer. As a result, it takes approximately twenty seconds for the Leaf to capture an image. The advantage is very sharp, very accurate pictures. The disadvantage is that the cameras are limited to shooting still subjects. "There are tradeoffs in

For Dole, the advantage of digital technology is control. He

any technology you use, " says Dodge. "There are some

bought one of the first Phase One cameras sold in the U .S.

shots you can't do [with the Leaf camera]. You can't shoot people, you can't do shots like foaming glasses of beer. "

This page: State-of-the-art Trek V Foil 1r bicycle photographed with a leaf stu dio ca mera and digitally retouched by Hanson/Dodge for the Trek 1997 Bicycle catal og .

But Dodge points to the work he does for Trek bicycles.

The design firm shoots a [ C ONTIN UE D ON PAG E r68 ] C 0 M M U N I C A T I 0 N

A R T S

165

Digital Cameras: Features and Prices Low range: under $500 MANUFACTURER

MODEL

MSRP

RESOLUTION

STORAGE L/H

Agfa

$399 $500

1,024 X 768

96/8

50mm

Canon USA Casio

ePhoto 780 PowerShot 350 OV-770

47/11

42mm

Epson America Epson America

PhotoPC 550 PhotoPC 600

$399 $299 $499

640 X 480 640 X 480

Fuji Photo Hewlett-Packard

DX-5

$299

PhotoSmart C20

$499

640 X 480 1,152 X 872

Minolta

Dimage V

$500

640 X 480

Nikon

Coolpix 300

$399

640 X 480

132/66

Olympus Ricoh

D-220L RDC-300 RDC-300Z

$299 $399

640 X 480 640 X 480

$499 $499

640 X 480 640 X 480

80/8 4MB 49

$499 $479

640 X 480 1,000 X 800

Ricoh Sony Sony Sound Vision

MVC-FD5 DSC-F1 SV mini-209

640 X 480 1,024 X 768

120/30 24/6 50/7 30/22

LENS C3BMM EQUIVALENT!

35mm 43mm 36mm 38mm

40/8

39mm

80/32

38-92mm 45mm 36mm 38mm

40/20

45-135mm 47mm

108/30 28/10

35mm 55mm

Mid-range: $500-$1,000 Agfa

ePhoto 1280

$649

1,280 X 960

60/6

38-114mm

Agfa

ePhoto 1680 PowerShot A5

$899 $699

1,600 X 1,200 1,024 X 768

38-114mm 35mm

OV-700 OV-5000SX

$600 $599

640 X 480 1,280 X 960

Eastman Kodak Eastman Kodak

Digital Science DC220 Zoom Digital Science DC260 Zoom

$799 $999

1,174 X 884 1,548 X 1,032

48/6 236/44 47/14 8MB 8MB

Epson America Fuji Photo

PhotoPC 700 MX-700

$699 $799

Olympus Olympus

D-340L D-500L

Olympus Ricoh Sony

D-600L RDC-4300 MVC-FD7

Canon USA Casio Casio

38mm 35mm

8MB

29-58mm 38-115mm

1,280 X 960 1,280 X 1,024

50/5 9

36mm 35mm

$699 $699

1,280 X 960 1,024 X 768

60/9 24/3

36mm 50-150mm

$999 $899 $699

1,280 X 1,024 1,280 X 960 640 X 480

49/4 no internal 40/20

36-110mm 35-105mm 40-400mm

High-end: $1,000-$15,000 Eastman Kodak

Professional DCS 315

$5,995

1,524x1,012

no internal

not included (Nikkor compatible)

Fuji Photo

DS-300

$2,500

1,280 X 1,000

no internal

35-105mm

Canon USA

EOS D2000 SLR

$15,000

1,728 X 1,152

no internal

not included (Canon compatible)

Eastman Kodak

Professional DCS 520

$14,995 .

1,728 X 1,152

no internal

not included (Canon compatible)

Do you need a digital camera?

Do you want a digital camera? For many photographers, those two questions define the difference between consumer use and professional use . And, with the price of digital cameras dropping as much as 30% per year in the consumer realm , many professional photographers are turning into consumers when it comes to digital photography. Jerry Magee, of Kodak's professional division. segments the digital camera market this way : point-andshoot, entry-level SLR, performance for photojournalism and commercial studio .

Because digital technology is inextricably tied to the computer world, the determination of resolution is based on screen size, which is counted in pixels . For convenience , think of the base computer screen size as 640 x 480 pixels . If you multiply 640 x 480 you get 307,200 pixels . Therefore, a digital camera that produces 640 x 480 images is said to have a resolution of 300K and its sensor to be more than a 300K sensor. When manufacturers talk about cameras with a resolution of 1 million pixels or more. they're talking about screen 166

P H 0 T 0 G R A P H Y

A N N U A L

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sizes that start at 1280 x 1064. And again, it can 't be sa id enough , it all depends on the output. A 1280 x 1064 image is going to look great on a computer screen, but the output. even when printed on special glossy paper, is not going to look as good . Obvious ly, the more resolution the better.

Finally, there's the issue of shooting cond itions . Not surpris ing ly a low-cost camera works best in perfect situations . Don't expect to see much information about ASA equivalents on low-cost cameras because the number is too dismal. In general expect about 100 ASA and know that you're getting into the higher prices and more professional cameras with ASAs of 400 or more .

LCDs. the small video screens that show exactly what the camera 's sensors are seeing, enable even mediocre photographers to do a better job of composing their shots. Unfortunately, in sunny conditions. the usefulness of most LCDs disappears because the light drowns them out. Most cameras offer both optical viewfinders and LCDs ; you'll want both . Some cameras even have a TIL (through the lens) viewfinder-you'l l really want that.

4 flash modes, self-timer, viewfinder

1f3o - 1/1o,ooo 1f4-111,ooo

120

1fs - 1/4.ooo

100

1f4- 1f1,000

100

1/4- 1!500

100

1!4- 1!5,000 1/z- 1f5oo

150-200

1f3o-1/ 10,000

100

1.8"

PC only, records up to 6 seconds 2"

100

130

1!60- 1/4,000

100

01--'- •

PC only 1.8"

aq

Zoom lens

1--'- •

LCD display/stylus, records up to 17 minutes of sound

100 1!4 -1!10,000 1/5- 1/s.ooo 1f5- 1/ 8,000

Infrared (IRDA) transfer capability, also captures mini-movies

2" 1.8"

M

pu

Burst mode, 9 shots per second Camera doubles as video conferencing came ra with video out and video capture card

1----

n

1.8"

1f3o- 1/5oo

2.5"

Records images on standard 3.5" floppies

1.8'

Manual shutter speed 1f7.5-1f1.ooo

pu

8

50

(D

1-1

pu (/)

1/ z-1/ 5oo

2"

280° swivel zoom lens; 3x optical zoom; 2x digital zoom

1/6- 1/750

100-400

2"

Optical viewfinder: Real-image type, burst mode

1fs- 1f4,ooo 1/s- 1/500

150

2.5'

100

1.8"

Infrared (IRDA) transfer capabil ity, also captures mini-movies, 360° panoram ic

1/z- 1!360

140

2"

Audio record and playback for image annotation, USB interface

1!4- 1/400 1/4- 1/ 500

100

2"

Audio record and playback for image annotation, USB interface

60-120

1.8'

1f4- 111,ooo 1/ z- 1/5oo

100

2"

60-120

2"

1!4- 1!10,000 1/ 4- 1!10,000

180

1.8"

100

1.8"

3x zoom, macro, TIL reflex viewfinder

1fs - 1/5oo

40-80 100

2" 2.5"

3 x continuous optical zoom , macro (180° rotation) Audio record and playback for image annotation 10:1 optical zoom, four preprogrammed special effects

100-400

2"

1f60-1f4,000

.5 second burst to 10 images

1/4- 1/1,000

100-400

1f3o-1/s.ooo

200-1 ,600

1.8"

TIL reflex viewfinder

1/4- 1!400

200-1,600

2"

TIL reflex viewfinder

We saw the very newest cameras at PC Expo in New York this June .

There was little change in the P&S category. The cameras are getting smaller and they have more features, but there was little that was earthshaking . Perhaps the most interesting new feature is video capture. Casio's new cameras let you get about six seconds of video.

It's not for pros, but it is fun . The real news in digital cameras is the emergence of more SLRs in affordable ranges . Look for cameras built on " real" camera bodies with interchangeable lenses. decent ASA equivalents and high-quality output. Kodak has broken an important barrier with the DCS 315 but they aren't alone. We saw professional and near-professional quality cameras from Sony, Olympus and Canon that w ill keep pace with Kodak. The good news is that this time next year, photographers interested in going digital will have more choices and less compromises to make.

Getting the images to the computer is also getting much easier.

Cameras have one of two options for external storage, SmartMedia or CompactFiash . Both SmartMedia and CompactFiash will work with PCMCIA adapters and at PC Expo many of the camera companies

were introducing floppy adapters for SmartMedia. The issues for memory are these : SmartMedia is small and it can be used in floppy disk adapters as well as PCMCIA. It comes in 2MB, 4MB and 8MB sizes . SmartMedia costs less than CompactFiash, but it is not necessarily compatible with all cameras. If you buy a new camera and a new memory card you should be all right. CompactFiash can be purchased in sizes from 4MB to 64MB, but it doesn't fit into a floppy disk adapter.

The bottom line is always, what do you want to do with those images?

If you're creating Web site images. shooting locations, creating layouts or check prints, you can use a good P&S. For hard copy, you're going to have to have at least a megapixel camera (1280 x 1024) and low expectations. If your subjects are moving, you'll need a performance camera.

Editor's note: This chart is by no means comprehensive, but is designed to give readers a brief overview of the range of digital cameras on the market at press time.

C 0 M M U N I C AT I 0 N

A R T S

167

tremendous amount of shots of bicycles and bicycle parts

The ability to capture and instantly transmit images

for advertisements, catalogs, brochures and posters. For Trek, says Dodge, "Color matching is always critical.

You've got black rubber tires, reflective chrome, high contrast, spokes on wheels. Through digital photography we have better control over the final image. We can match color better and control contrast levels ." Most important,

changes forever the way we communicate with each other.

In newspapers, e-mails, product specifications and catalogs we are adding pictures to words. This is also true: technology innovation will advance inexorably, and professionals like

says Dodge, is that once they get the shot and the look they want they can duplicate the look much easier using digital technology. A single digital image capture is repurposed at different resolutions for a variety of media including high-resolution print and Internet. "We don't have to go back and reinvent the wheel," says Dodge.

Dodge has found that some of his best digital photographers are also the company's best retouchers. He cites a recent catalog project for Timex watches. He says, "Traditionally photographers are going to be worried about reflections and highlights. But our photographers are shooting and using their knowledge of the retouching process. They can say, ' Don't worry about that highlight, I can take it out in five minutes in Photoshop."' Finally, says Dodge, digital photography has enabled photographers to move more into the realm of art directors. "It has enabled our photographers and retouchers to be more creative. For example, we did a shoot for Brass Boot Company. It was one of those things where the art director came in with thumbnail sketches and we were able to deliver a collage created in the computer. "

Jody Dole, Ted Leonhardt, Tim Dodge and Chris Morris will continue to explore the abilities of a new medium.

"Digital photography is another visual tool," says Leonhardt.

"Every one of these tools has been an additional tool in our arsenal to help us communicate better for our clients. They're all wonderful, and they all redefine the tools that came before it." But Leonhardt is not about to give anything up, either. "There's something about the way humans think," he says, "so that when a new idea is proposed like television, we get what it means, and we say, 'Wow, television is really cool. ' Then we immediately think radio is dead, goodbye radio. But look what's happened, radio isn't dead, it's even richer and radio is making even more money than it ever did before. TV simply redefined what radio is really good at. It happens every time and the digital camera is exactly the same way." As digital photography emerges as a visual recording device, perhaps it will expand the vocabulary of traditional photography as a medium for emotional expression. Or, perhaps we should allow the photojournalists to have the final word. Chris Morris says simply, "A still image is a slice of time! don't care what it's captured on. " Either way, digital photography is not going to go away. •

Hanson/Dodge now has two Leaf systems and the company is completely committed to digital photography. "I have not found it to be a bad investment," says Dodge. "We have saved our clients a lot of money in film and scanning.

With film you're at the mercy of the lab and I'd have to charge our customers to go back and reshoot because the color's not right."

In the end, the question is always, where is the image/photo going to end up? Hanson/Dodge relies on the high-end Leaf system because they are shooting images for a variety of outputs. One of the effects of digital photography and the Internet is that images are rarely used just once. They are repurposed. To Jody Dole's absolute dismay, he's finding that digital photography is also causing an explosion in stock photos and not all of it is good. "There are people who don't know the difference between a Chablis and Chateau d'Yquem," he says. As committed as Dole is to new technology, he also sees its dark side and he fears one effect of digital photography will be to cheapen the overall perception of all photography.

Digital photography truly is revolutionary. In spite of its limitations, it is changing the way people work. If none of those limitations were ever improved that fact still remains.

168

P H 0 T 0 G R A P H Y

A N N U A L

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Digital Camera Manufacturer Web Sites AGFA

www.agfahome.com

Canon USA

www.powershot.com

Casio

www.casio.com

Eastman Kodak

www.kodak.com

Epson America

www.epson .com

Fuji Photo

www.fujifilm .com

Hewlett-Packard

www.hp.com/go/photosmart

Minolta

www.minoltausa .com

Nikon

www.nikonusa.com

Olympus

www.olympus.com

Ricoh

www.ricohcpg .com

Sony

www.sony.com/i mage

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tremendous amo( l o'ijhd i leAn cy..:~t}a:l\. for advertisemen , ca~ogs, broc ures and posters. For Trek, says Dodge, "Color matching is always critical.

You've got black rubber tire , reflective chrome, high contrast, spokes on wheels. Through digital photography we have better control over the final image. We can match color better and control contrast levels." Most important, says Dodge, is that once they get the shot and the look

Jl

they want they can duplicate the look much easier using digital technology. A single digital image capture is repurposed at different r ol including high-resoluti have to go back and are also the catalog proj photograph and highligh using their n . u v n • ' - 'say, 'Don't worry about five minutes in Photo hop. photography has enabled p into the realm of art direc raphers and retouchers to be mo . For example, we did a shoot for Brass Boot Company. It was one of tho things where the art director came in with thumbnail sketches and we were able to deliver a collage created in the computer."

e~il ~apttJi aM inA changes o.ever the way <... cor 1

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sm1t 1m ages .care with each other.

In newspapers, e-mails, product pecification and catalogs we are adding picture to w r . This is al o true: technology innovation will advanc ine or bly, and professionals like Jody Dole, Ted Leonhardt, Tim Dodge and Chris Morris will continue to explore the abiliti s of a new medium.

"Digital photography is another vi t I tool," say Leonhardt.

"Every one of these tools ha been dditional t ol in our arsen 1 to help us communicate better r our clients. They're I wond rful, and they ll redefine the tool that came fore it." But Leonhardt is not about to give anything , either. "There' omething about th way humans o that when an idea i1i propo ed get what it means, and e y, 'Wow, n is really cool.' Th n we immediately think radio goodby r di . But look what's happened, radio , it's even richer and r clio is making even more than it e r did before. TV simply redefined what io is really good t. It h ppens every rime and the igital camera is exactly the arne way." A digit l photophy emerges as a vi u I recording device, perhap it will expand the vocabulary of traditional photography as a medium for motional e pre ion. Or, perhap we ~hould allow the photojournalist ro have the final word. Chri Morris says simply, "A still image is a slice of rime1 don't care what it's captured on." Either way digital photography is not going to go away. •

Hanson/D dg now has two Leaf systems and the company is complet ly committed to digital photography. "I have not found it to be a bad investment," says Dodge. "We have :sa ed our clients a lot of money in film and scanning.

With film you re at the mercy of the lab and I'd have to ch r our cu tomer to go back and reshoot because the not right." co

Digital Camera Manufacturer Web Sites AG FA

p~:J2UL c are repurposed. o ing that digital photograph l o cau ing an explosion in stock photos and not all o 1t i good. "There are people who don't know the difference between a Chablis and technology, he also sees it of digital photography w

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168

PH 0 T 0 G R A P H

AN

UAL

9 9 8

www.agfahome.co wV!.Itl'll>l·• t eot

FuJI Pr.o o Hewlett-Packard

Mtw.fujifilm.com www.hp.com/go/photosm rt

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Mutual Support

BY WENDY RICHMOND

Y

ou probably know about Providence, Rhode Island

the gallery to the district, has been a helpful advisor, nor only

because of the Rhode Island School of Design (RISD). The school is very much at home in a city

also with legal and financial tips. And Gallery X often plays a

that is emphatically supportive of the arts. During the summer and fall especially, there's a constant stream of theater, music, performance, gallery events and outdoor art festivals that take place on the city's river, streets and parks .

Last fall I went to the WaterFront Festival, and my plan for

supportive role in New Bedford's many festivals with exhibits, performances and space for musicians and artists to rehearse and construct their work.

The realization that a thriving arts community brings economic benefits to a city is a no-brainer. But it takes real

the evening included dinner-there are a lot of good places

numbers to back this up . In the early '90s, when stare and

to eat in Providence. Not surprisingly, each restaurant had a long wait. No big deal, we hung out at the bar and watched

federal support of the arts were experiencing cuts, people talked about the economic benefits of the arts, bur no one

all the activity, the city was really hopping. Business was great,

had really done a comprehensive study and pur it all on

not just for the restaurants, but also for the shops, cabs, park-

paper. In 1994, the Mayor's Office of Cultural Affairs in

ing lots, bars, street vendors and hotels. Thanks to the festival,

Boston and the National Assembly of Local Arts Agencies

a lot of people were making a lot of money.

decided to carry out a study tided "Arts and the Local

The past few years have been dreadful for the arts, what with

Economy: an Economic Impact Study of the Arts in Boston. "

the National Endowment for the Arts cuts and all. Art is an

Bruce Rossley, Commissioner of Boston's Office of Cultural

easy target, and Jesse Helms took aim and hit the mark.

Affairs writes in a preface of the study: "All too often the

Fortunately, many politicians also realize that the arts can

economic role of cultural organizations is ignored. The the-

provide the means to revitalize a city. They know that a

aters, museums, concert halls and galleries are seen by some

thriving arts community means more than good culture-

as black holes eating up tax dollars. What this study clearly

it also means money. Vincent Ciani, Jr., the colorful mayor

shows is that arts organizations and their resulting economic

of Providence, is one of the best at practicing the balance of

impact generate tax dollars far exceeding any local or state

supporting the arts and capitalizing on them .

funding they receive."

Providence is well known for its activities and has received

The study is packed with figures that compare, for example,

a lot of national press as a cultural draw for tourism. Smaller

the economic income of the arts to sports: ''Arts and cultural

and lesser known cities are finding similar economic advan-

organizations earned $II2,335.432 in 1992, almost double the revenues from ticket sales for the Red Sox, Bruins and Celtics

tages from art-related activities and institutions. In New

174

in providing details for renovating a historical building, but

Bedford, about 45 minutes east of Providence, many pro-

combined ($63,970,000)." The figure that I find most inter-

active citizens are working hard on major economic initia-

esting is under the heading of Related Spending: "For every

tives for their city. Some of these projects have already

dollar spent on tickets, the arts and cultural patrons spend

been realized, and have mutual benefits for business and art,

on average an additional $2.78 on restaurants, hotel, travel

including the designation of the New Bedford Whaling

and shopping providing an additional $312,292,ooo in ' related

National Historic Park (part of the National Park Service)

spending."' That means a $35 ticket to a dance performance

in the downtown historic district, and the ~novation and conversion of an old bank building into the New Bedford

brings an average of $97·30 to other businesses. The bottom line in the report is that the total impact of the arts

Art Museum .

on Boston's economy is $743,696,ooo. (For those who ques-

Some of the ventures are smaller, but the shared support and

tion the methodology, the study provides an extensive expla-

benefit holds true. Gallery X, an artist-run gallery, started in

nation of its steps.)

a tiny storefront, and a few years ago moved into a historic

The numbers in your city may be lower in comparison, but

church a block away from what is now the new art museum.

it's all relative and the story is the same. If art and commerce

The directors have raised money through loans and fund-

can be mutually supportive, they can be mutually successful.

raising and are in the process of purchasing the building.

The Waterfront Historic Area League, realizing the value of

When art survives the community thrives. •

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 8

© 1998 W. Richmond

egacy'' do you want to say it?

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Extensis Photo Frame 1 .0

BY PAT SOBERANIS

T

he prolific folks at Extensis recently released PhotoFrame r.o, a nifty Photoshop plug-in for creating interesting frame and border effects on

Macintosh or Windows. Photographers might use frames to give their portfolios a unique presentation, but designers

will really fly with them.

Like other Photoshop plug-ins from Extensis, PhotoFrame

In PhotoFrame's interface, you can import up to three frames and choose separate effects for each, such as width, blur, opacity and color.

has an intuitive interface with lots of presets and customization options . Depending on the bundle you buy, it comes

CD-ROM frame libraries will give you an idea of how to build

with either one or two CD-ROM libraries of 150 frame files

your own frame files , and mixing and matching them will

each. Also included is a 6o-day demo version of Extensis

get your creative juices flowing.

Portfolio 3.0, a powerful catalog program and a Portfolio

PhotoFrame is speedy (with enough RAM) , glitch-free and

catalog file for each of the frame libraries . But you can also

geared toward productivity. It actually builds the effects in

use any JPEG file as a frame, and PhotoFrame recognizes

the background as you choose them, so you can immedi-

Auto FIX Photo/Graphic Edges frame files. Extensis says

ately move on to the next one. By the time you're ready to

PhotoFrame r.o is compatible with Photoshop 5.0.

click Apply, most of the processing has already been done.

Importing a frame file is simple: Just click the Add or Replace

You can save and load settings and apply them to other

button and select the one you want. Or you can drag and

images, and undo and redo your work as much as you need

drop the file from the desktop or from a Portfolio gallery

to. The clever Navigator pop-up window works like Photo-

window. Once imported, the files behave like fully adjustable

shop 4.o 's Navigator palette, letting you zero in on the

and editable masks. Frames that appear to be vertical in the

area of the image you want to see . PhotoFrame also fea-

thumbnail preview, for instance, instantly adjust on import to fit the image, whatever its size or orientation.

You can import and apply up to three frame files for any image and edit each frame individually. Editing options include rotation and separate size/width, blur, opacity, color and Blend Mode settings for backgrounds and borders. The large Preview window reflects your edits in real time-a productivity boon if you work with small images or have

As usual, Extensis's printed user guide is thorough, well written and illustrated and includes thumbnails of every frame on the two CD-ROM libraries. But Extensis neglected to specify RAM requirements , and PhotoFrame seems to require plenty: For one 2. 7M B image, just opening PhotoFrame added 8MB to Photoshop's memory usage.

plenty of RAM. With the View Composite Layer option

PhotoFrame provides a simple, quick way to apply artistic

turned on, you can see all layers plus the background.

edges to photographic images, along with dozens of well-made

Launching PhotoFrame from a new layer allows you to

prebuilt frames . But the company didn't stop there. The pro-

apply its effects to a separate layer in Photoshop.

ductivity features incorporated in PhotoFrame make it clear

PhotoFrame's JPEG support means you can create your own

that Extensis knows exactly what designers want and need. •

frame files , or use any JPEG image as a frame. PhotoFrame

Extensis Photoframe 1.0

treats them like it does any prebuilt frame: as adjustable,

Extensis Corporation 1800 S.W. First Avenue , Suite 500 Portland, Oregon 97201 (800) 796-9798; (503) 274-2020

editable masks. PhotoFrame converts color JPEG images to grayscale, and grayscale shadings are rendered as variations in opacity-which you can adjust even further in the program. Layering a JPEG image-turned-frame on top of another image creates some very unusual effects.

Between the frame libraries, the multiple-frames option and JPEG support, the possibilities are almost limitless . The

176

tures a Reset button and 24 zoom levels, and includes scroll, zoom, adjust and eyedropper tools .

P H 0 T 0 G R A P H Y

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www.extensis.com System requirements : 68040-based Macintosh or later (25 MHz or faster), or Power Macintosh , or Mac OS-compatible computer, with Mac OS 7.5 or later and Adobe Photoshop 3.0.4 or later; or Pentium-based PC with Windows 95 or Windows NT 4.0 and Adobe Photoshop 3.0.5 or later. Suggested retail : $129.95 with one library volume ; $199 .95 with two volumes .

FlashFocus

"

Books Photoshop 4 Artistry

By Barry Haynes and Wendy Crumpler 313 pages, paperback, includes CD-ROM tutorial, $55 Published by New Riders Publishing 201 W. 103rd Street Indianapolis, Indiana 46290

To master digital imaging, Phoroshop is a must. To master Phoroshop, the new Photoshop 4 Artistry, by Barry Haynes and

progress steps and final images for each example that lets read-

file formats and image compression, selections, masks, channels

created a series of seven infor-

ers follow along with each

and layers-that will be used on

Roadmaps™ that provide a

exercise at their own speed.

an ongoing basis as more specific techniques are explained.

graphic look at the directions

The book is divided themati-

be heading as we speed down

cally by topic. Photography and overall color correction, improv-

the information superhighway.

Areas include New Business,

ing color and mood, composit-

New Media, New Technology,

Basic desktop issues are explained quickly and with clarity. Readers will learn how much memory to assign to Phoroshop, which Phoroshop preferences will make life easier, tricks for working efficiently on large and small monitors and

mation-rich fold-out Digital

the graphic arts industry may

ing multiple images, and calcu-

Network Priming, Digital

lations, patterns, filters and

Advertising, Digital Specialty

effects guide the reader from

Printing and Cross-Media

real-world applications, where

Publishing. For more informa-

tical, hands-on techniques

effective palette management techniques to get the most our of Phoroshop as they progress through exercises that follow later in the book. In the overview section called "Things

an extension of the user's

Digital Visions, 50 new royalty-

informed by a practicing pho-

You Need To Know" the authors

imagination.

free digital photography col-

tographer's perspective. A com-

cover the nuts and bolts of Phoroshop-the Tool palette,

Each of these sections begins

Wendy Crumpler, is a musthave book. Photoshop 4 Artistry combines conceptual explanations with a grounding in prac-

panion CD-ROM includes masks,

Phoroshop is used to achieve

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the most faithfully accurate

e-mail millsdavis@aol.com.

results in reproductions, to one in which Phoroshop becomes

with theoretical overviews that discuss imaging techniques and photographic concepts from a professional photographer's perspective. Step-by-step instructions in the hands-on sessions provide plenty of opportunities to put these concepts into practice. Each of the more than two dozen sessions is amply illustrated with color screen grabs of Phoroshop tool bar menus and palettes, along with image files that show the effects in the process of being applied. Readers who follow along faithfully with these hands-on sessions will understand the intricacies of Photoshop and may even come to master this incredibly deep and powerful tool.

Royalty-free photography

lections are available from Dynamic Graphics. Each CDROM contains 100 thematicallyarranged images, based on concepts such as Business and Industry, Sports, Nature, Travel and Retro; 30MB images are saved in CMYK and TIFF formats and JPEG compressed. For more information, call (8oo) 25588oo or visit the Web site at

www.dgusa.com/ digitalvision/ Font collection

Comic Book fonts oozing with character and nostalgia are available from ComiCraft:M Mac and PC compatible, these calligraphic fonts range from the Art Deco look of type for the "Batman & Robin Adventures" to the stylized typography of the "X-Men. " Call (310) 458-

-SAM McMILLAN

178

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 8

9094 for more information.

Resources

Time monitoring software

Information maps

When time is money, it pays to

How do we find our way to the

have an easy-ro-use, flexible time

future? Mills Davis, a design

sheet tracking package. That's

firm in Washington, DC, has

what Hi Resolution promises

C 0

R B I S

I M A G E S

www.corbisimages.com 20

million

images.

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million

online

C

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1-800-260-0444

with the release ofWarchit! 1.5

worldwide. He has chosen

phenomenon, with Dell com-

take place in Reno, Nevada,

for the Macintosh. Warchit!

artists based on their talent and

puter racking up $3 million a

August 13-15 at the Nugget

works in the background, track-

their ability to handle the bud-

day and Apple selling $12 mil-

Hotel. Vendor roundtables in

ing users and rime spent on

get and rime constraints inher-

lion from its Web-store in one

the Technology Demonstration

projects. Multiple users can be

ent in the editorial, publishing

month. Sales Order WebFrame™

Hall will showcase creative

tracked over a network for cen-

and corporate fields. For more

from Turnaround Computing

applications of new media pro-

tral processing by an account-

information, call (8oo) 486-

enables designers to create a

ducts, digital output devices

ing department. For more infor-

1248 or visit the site.

secure, stable framework for

and software productivity pro-

sales and marketing on the

grams. For more information,

The National Electronic Direc-

World Wide Web. Working

call (8oo) 925-1110 or visit www. bigpicture.net

mation, call (8oo) 455-0888 .

Online magazine

tory (NED) has gone online to

within HTML, Sales Order Web

Anvil, a new online magazine,

enable advertising agency cre-

Frame provides a powerful cata-

presents issues and trends devel-

arives and producers to keep

log and fulfillment system while

Macintosh exhibition

oping in the online communi-

better track of commercial direc-

eliminating the need for com-

El Mundo con Apple comes to the World Trade Center Exhi-

cations industry. News briefs,

tors, editors and composers.

plex CGI, PERL and Java pro-

columns and summaries of

Advertising space is available to

gramming. For more informa-

bition and Convention Center

stories shaping the industry

list creative services and features

tion, call (8oo) ITS-TURN,

in Mexico City, August 26-29.

will be part of each issue. To

QuickTime and sound capabil-

e-mail sales@rurn.com or

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subscribe, send e-mail to

ity as well as banner advertising.

check out the Web site at

are expected at the largest

www.turn.com

majordomo@lisrs.transporr.com

For more information, call (8oo)

with "subscribe anvil list" in the

525-0230 or check out the site at

body of the message or for further information, check our

www.navgtr.com/ sourcetv.com

rhe Web sire at www.anvil-

Tools

media.com

Photo enhancing tool

tion, call (525) 662-7288 or

Photo Assistant™ from Ulead

visit the Web site at

Systems is the first "in-applica-

http: / I expomac. com.mx

tion" photo editor that enables

Quark XTension

users to work with photos from

Online training

Imposer 2.0, from A Lowly

within common business soft-

The National School Boards

Training comes to the Internet.

Apprentice Productions, turns

ware applications . Designed to

Association hosts its nth annual

Satterwhite Design has created

QuarkXPress documents into

streamline the photo acquisi-

a customized, online training

printer spreads or printer flats.

tion and editing process Photo

engine designed to deliver edu-

Users can select imposition types

Assistant integrates into pro-

cation and training over the

including 2-UP, 4-UP, Work &

grams with a new Photo Menu

Internet or via corporate intra-

Turn or Work & Tumble, select

and a dockable toolbar. Users

ner. The software has built-in

binding types and specify start

can crop, straighten, enhance

capabilities for resting, response,

page and signature size. The

color, adjust brightness and

data collection and processing.

imposition is handled entirely

contrast, choose from a variety

For more information, e-mail

in the print stream, protecting

of special effects, then incorpo-

info@satterwhire.com or visit

originals from inadvertent modi-

rate the photo as part of their

www.satterwhite.com

fications. Thumbnails and pre-

document or attach it as an e-

views in color provide instant

mail. Photo Assistant is avail-

Online databases

feedback. Imposer 2.0 is com-

able for a 30-day trial period at

An online database of illustrator

patible with QuarkXPress 3·3

www.ulead.com

talent has just been launched at

and 4.0 for the Mac OS. For a

www.portsort.com, making it

demo or more information,

easier for art directors to find

call (888) 818-5790 or visit

an illustrator quickly and

www.alap.com

Digital imaging conference

by Woody Coleman, who for

Sales order software

The Big Picture, a conference

the last fifteen years has repre-

Call it £-commerce or online

dedicated to those in the large

sented hundreds of illustrators

shopping; it is an enormous

format imaging business, will

simply. The site is administered

180

Macintosh Exhibition in Latin America. For more informa-

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 8

Educators conference

Technology + Learning Conference October 29-31 at the Nashville Convention Center.

The NSBA has been an advocate for the appropriate use of high technology in K-12 public schools. Educators will gather to discuss online high schools, collaborative distance learning and funding for technology support. For more information, call (703) 838-NSBA or visit their Web site at www.nsba.org/itte -S.M.

Education

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Showcase Photography 915 Broadway 14th Floor NYC 10010 212 673 6600 showcase .com

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www. bybee. com 4I5. 863.6346

Bybee Studios - San Francisco - Sonoma Co.- CA

www. bybee. com 4I5. 863 .6 346

Assignments - Stock -Limited Editions

Rebel in Search of a Cause Part one ofa two-part series

BY DAVID STERLING

or so many years I rebelled against anything and

van with a group of their students, heading off on one of

everything that seemed to me to be handed down

their famous design field trips. Under the McCoy's direc-

from some authority figure. I yearned to stand out.

tion, Cranbrook's design program in the late '7os centered

F

I made wild pictures to draw attention to myself. These are

on problem-solving methodologies. Kathy had worked for a

the things that adolescents do. Because these are archetypal

while at Unimark, which carried forth the banner of the

experiences, rites of initiation in a post-industrial society,

"international style" in graphic design. Mike's product

I do not regret them, nor should any designer who is acting

designs were derived from careful consideration of "Human

out the same impulses. In fact, I am proud of the real

Scale," a sort of reference chart of ergonomics developed by

human passion I was able to express by those means. But

Henry Dreyfuss Associates. Both Kathy and Mike were par-

time is bound to effect in each individual much personal

ticularly enamored of the designer Richard Saul Wurman ,

change. The story of my inward changes is intricately inter-

whose clear-headed approach to the structure of information

twined with the story of twenty years of upheavals in the

formed what became our Bible, Phila-PA-a radical new kind

profession of graphic design. The last two decades have wit-

of book that decoded that city into manageable units of data,

nessed the advent of the personal computer and the ensu-

and that later gave rise to his Access series of travel guides.

ing digital revolution; the fragmentation of the monolithic design studio into thousands of smaller one- or two-person

I spent most of the next two years working. On weekends , winter break and all summer long I drove my little green

shops; and the emergence of the design "superstar" as a cult

Datsun down the decaying Detroit axis, Woodward Avenue,

icon and media darling. All are emblematic of the reshap-

to my studio on Academy Way. Not only was I slaving away

ing of what was once a tradition-bound craft into a vital

in an attempt to find my own design voice, and to catch up

aspect of culture.

with the other students who, unlike me, had completed four years of intensive design studies, but also design just took a

Cranbrook ...

long time then. Since few of us had the money to spend on

I entered Cranbrook in September of 1976. Five months

having our type commercially set, we would cut letters out

later my future business and creative partner, Jane Kosstrin,

of type specimen books, paste them together into headlines

arrived from a whirlwind trip through Europe and, through

or sentences, then take them into the darkroom to enlarge

some toss of the coin, landed the studio space adjacent to

or reduce them on the huge and clunky photostat camera.

mine. She was a louder- than-life, red-headed, Jewish New

Lives were lived and many friendships furthered or terminated in that tiny dark closet.

Yorker; I was a repressed Bible Belt Protestant. But somehow, we struck up a friendship, and spoke early on of one day working on a project together.

184

The graphic design we produced was rigidly determined by the grid. Photomontage was employed, but only in the ser-

Cranbrook in 1976 was still rooted in latter-day hippie ideal-

vice of the message; and, lest the image become too unruly,

ism. It had nothing to do with the Cranbrook that produced the book Cranbrook Design: The New Discourse some fourteen

type in neat tidy rows tamed it. Massimo Vignelli was another studio favorite (Kathy had worked with him at Unimark),

years later, which contains the work many people now think

and so our work often favored thick, masterful black bands

of as "the Cranbrook style." When I arrived the design phi-

and Bodoni. Some student work was beginning to be expres-

losophy and educational atmosphere were still directed

sive in rebellion against this :Esthetic-especially in the

toward improving the world through the heroics of nomadic

collage work we produced. But rectilinearity and communi-

furniture, modularity and Helvetica.

cating almost to the point of pedagogy were still the dom-

Our teachers were Katharine and Michael McCoy. Pictures

inant characteristics of the studio, and of the graphic design

of them from a couple of years before showed them with long

profession that awaited us.

hair and hip-hugger jeans standing in front of a Volkswagen

Picture Cranbrook as a monastery, an Edward Gorey-esque

P H 0 T 0 G R A P H Y

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warren of buildings spread over hundreds of acres of

Oklahoma?"-where I soon located a great, cheap apartment

sculpted land, earning itself a spot on the National Register

below 14th Street.

of Historic Places, nestled beh ind huge iron gates and colonnades of chestnut trees in a wealthy, secluded suburb of Detroit. But the geni us of Saarinen's architectural monument was as intimidating as it was awe-inspiring. There was an unspoken resignation among many of us that we would forever struggle to emerge from the shadow of the Father.

Non-architectural stimulation was scant, and what little

New York ...

I found myself attracted to the then-new Punk movement-a movement which was perhaps at its most outspoken within the cultural confines of fashion, music and art. On every street corner, people with safety-pin-studded cheeks, DayGlo® Mohawk hairdos and skin-tight black jeans that they had carefully shredded with razor blades, lived on the edge by the rock 'n' roll poetry of Patti Smith.

there was had to be brought onto campus.

Jane tended bar in the campus-sanctioned pub on Academy Way. We fashioned costume parties (Lorraine Wild still tells of the time she almost suffocated in her ad-hoc S&M costume styled out of black garbage bags). And Charlie Rozier served as DJ, playing his own mixes on stereo equipment he had designed for Boston Acoustics. This marked the first time I had ever heard Talking Heads and The Sex Pistols.

"Good Thing" and "Psycho Killer" sent shrapnel through sounds like K.C. and the Sunshine Band, and filled the studio at any given time of day, forming the so und track for our frenetic cutting and pasting. We all pored over the vinyl disks' packaging, too. The graphics seemed as new as the music. The ripped and torn letters on The Sex Pistols album cover was particularly inspiring. Other beacons of graphic design smuggled in from the outside world lit up the studio and elicited our gasps, too, like the wild, layered posters of

I still think of I978 as the year that design emerged from the basementlike Platos prisoners from the cave.

head and pierce my lips, at the very least I began wearing all black. A new friend who was a student at Vidal Sassoon, the snooty uptown hair styling salon, gave me an updated 'do for free. In exchange I let her use me as a guinea pig for new tints , the most radical one of which was named "raspberry."

Punk was appealing to me, I suppose in retrospect, because of its ultra-modernism. As I have come to understand it,

Wolfgang Weingart and his protege, April Greiman, who

modernism is iconoclasm; it is the perennial New Year, a never-ending ringing out with the Old and in with the New.

had recently brought the "new" Swiss style back to America

It is a perpetual demolition derby, in which the future is

from her stint at the design school in Basel, and embell-

reimagined on the scrap heap of the present. It is a kind

ished it with lurid L.A. colors . The pinnacle of Greiman's

of chronic anxiety, in which comfort is not only unattainable, but is also suspect.

expression, we thought, was her work for a wacky West Coast lifestyle magazine called Wet. Charlie succinctly described the correlation between the new graphics and the new music. Referring to the lyrics of one

Things were changing very quickly now. This was the '7os, mind you, but not the early '7os of the Eagles and flared trousers and Nik-Nik shirts-the trappings now in favor

Talking Heads song, "Psycho killer-qu'est que c'est?-fa fa

again among young people. Those things had come three or

fa fa fa fa fa fa fa fa ... " he said that the zips and blips of

four years earlier, wiping out the Beatles, bell-bottom jeans

Greiman's work were like the " fa fa fa's"-utterly meaning-

and Nehru jackets. No, now it was the punks' turn; no

less but somehow essential to the overall composition. I still

more hippies or disco fever. This was the reign of angry Thatcher-era Brits, whom American punks emulated. This

talk about a particular design's "fa fa fa" quotient.

mastered the grid-a logical course to follow since we knew

was the late '7os of black leather and eye shadow and "Goon Squad." Oh brave new world!

By the end of the two-year MFA program, we had stoicly

186

I had always identified with outsiders-or better yet, iconoclasts. If I did not shave my

our portfolios would have to attract reasonable jobs in white

The new clubs were an attraction, too. With edgy names

collar establishments. Jane tried to convince me to move

like CBGB, Danceteria, and the more established Studio

to New York-"Why not? What would you do back in

54, they lured legions of other rebels who looked just like

P H 0 T 0 G R A P H Y

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+ When Time magazine searched for someone to design its annual special issue last fall, it approached Why Not Associates of London .

"Time thought our work, using multilayered images, reinforced the 'discovery' theme;' explains Andy Altmann, principal. Image "engineering" has been a trademark of Why Not since its inception in 1987, resulting in award-winning work for clients from Smirnoff to the BBC. With articles ranging from rogue asteroids to evolution, the Time project engulfed the studio for the next three months. Notes David Ellis, the other half of Why Not, "It was a huge amount of work, and a bit odd to take it all on ourselves, but we wanted a consistent look. Fortunately, we had a generous budget and the ability to comb through huge image libraries:' Editorially driven, each spread grew from the text. "The search engine PhotoDisc has is like a visual thesaurus. It presented images we hadn't thought of- sometimes better than what we'd originally had in mind. We used dozens of PhotoDisc images, which worked perfectly in

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combination with the other images and were already scanned. It cut down dramatically on the late nights:' "The project had a few chaotic moments;' admits Ellis, in characteristic understatement. "But when the call came in from a friend in Kuala Lumpur who'd seen it on the newsstand, we realized what fun it was:' For more reasons why leading designers include PhotoDisc in their solutions, visit www.photodisc .com or call for a free catalog: 1 800 309 4338.

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me night after night. Music throbbed beyond sunrise, and we took with us to our sun-streaked beds the lingering sounds of The Sex Pistols, The Ramones and the freaky brainiacs called Talking Heads. I experimented with all of the selfindulgent ritual and lifestyle fads that characterized the decade, which a few years earlier had been labeled by social pundits "the 'me' generation." I lost weight and acquired

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My first job lasted three months. I hated it. The design studio where I worked was run by an older gay couple who squabbled incessantly about money and usually purchased the cheapest type you could buy. This was several years before the appearance of the computer-centered studio, and designers still bought type from companies that specialized in typesetting. You ordered either "hot" or "cold" type-the former being actual lead type composed on wooden blocks and then inked and pressed onto paper, the latter being type generated photographically in kodalith (or negative) film and then exposed onto photographic paper. In order to communicate to the typesetter how you wanted your type to look, you had to "spec," or specify, what you wanted.

This involved hours of writing detailed explanations of type size, font, leading, indentation and so on in red pen in the margins of the original manuscript. You sent it off, and then waited a day or so. Invariably, it would come back with errors, or you would be disappointed in the overall look once you actually saw it. Because this process was so laborintensive, it wasn't cheap.

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But my bosses were. A kind of snobbery existed among certain designers-perhaps especially those trained at schools like Cranbrook-that was expressed in a preference for hot type, or at the very least, cold type set on the Berthold-a German photographic typesetting machine that was the most precise in the world. Only three existed in the United States, one being in New York. Of course, I wanted Berthold for the annual reports we designed: the sharpness of its letterforms was unparalleled (you could enlarge letters 6oo% with no loss in clarity), the refinement of its kerning simply delicious. But it cost three to four times more than linotronic type, which was the standard bill-of-fare in our office.

It wasn't just my brattish insistence on expensive type that took me and my portfolio in search of ano ther job back to the RitaSue Siegel Agency and into the dimly lit, mirrored office of the eponymous design head hunter. It had more to do with the wrenching split I experienced between the vital-

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189

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ity of life after dark and the mundane-

\

ness of daytime type specification. And more still, it was the slap-in-the-face realization that the real world of design I would now inhabit was light years away from the modernist furnishings and experimental mindset of Cranbrook.

Needless to say, the work got noticed.

Slade gave his congratulations at the opening. The McCoys beamed. Ever since that time, design theses have mingled effortlessly with painting and sculpture in Cranbrook Museum's upstairs galleries.

Back at Cranbrook, Jane still had one more semester to finish. The last few months are always occupied by a hellish struggle to define a personal vision and etch out some kind of thesis, which is Collage for an MFA thesis at Cranbrook Academy of Art by Jane Kosstrin .

presented in the harrowing "thesis show," attended by all Cranbrook

faculty and open to the public. For years, perhaps dating back to the time of the Eameses and Florence Knoll, the design theses had been presented in the tunnel-like basement of the Academy's art museum, while fine artists were given the larger open spaces of the galleries on the ground floor. Jane rightly perceived this situation as a great inequity, and proceeded to complain about it to Cranbrook's president Roy Slade, who gave a rather curatorial rationale,

190

the type formed tiny crosses. Another piece contrasted Sid and Nancy murder headlines with Emily Post's etiquette advice for the behavior of ingenues and their chaperones.

I still think of 1978 as the year that design emerged from the basementlike Plato's prisoners from the cave. Never again would it be annotated as some sub-species of art; it was art. Not that Jane Kosstrin single-handedly accomplished this transformation; but Jane was the herald at Cranbrook of a nascent trend in the larger culture. The design that came out of the department after that would never be the same.

RitaSue sent me boldly forth in search of a new job. The New York design scene at that time was characterized by a

explaining that paintings and sculpture were usually larger

handful of mammoth design studios with awesome names:

and more dramatic than design pieces and therefore more suitable for the museum's soaring upstairs spaces. But

Margulies. For the most part, these studios were them-

Siegel & Gale, Anspach Grossman Portugal, Lippincott &

Jane was never anything if not persistent. Finally, Slade acquiesced, admonishing Jane that her thesis work had

selves large corporations that served other large corpo-

better be big and impressive.

had become known as "corporate identity. " This was a

rations in the development and maintenance of that which

Every other year, Kathy assigned a graphic design project in

buttoned-down world in which a particular worshipful

which we were to use the found images and type from two

attitude toward design was a prerequisite, and enormous

different magazine or newspaper articles, juxtaposing them in our collages to highlight their ironic content. Jane selected this assignment as the framework for her thesis project.

Rather than the diminutive 10" x ro" format in which we

fortunes were spent on things like style manuals. I found

Whether I was not right for them, or they were not right

often worked, Jane chose a full-volume r8" x 24" size that

for me, I did not find a place in any of those studios. Rather,

would allow her a spectral range of expression, and-with

in January of 1979, I became art director of the newly-

ten of these together on a gallery wall-that would guaran-

redesigned ID magazine. Reflecting the design industry's

the atmosphere thoroughly stultifying, and it fanned the flames of my rebellious streak.

tee maximum impact on Slade.

project over the last two decades to prove itself a credible

What came out of her fingers at the end of four months made

and serious profession, ID (which still stood for Industrial

me ache with envy. Not only did the collages look like some-

Design) in those years was first and foremost a publication

thing new at Cranbrook, but they were also smart. And

about business. In fact , its senior editor, George Finley, had

funny. One piece juxtaposed a headline that read "KKK Suit Up" next to a story about the latest Paris fashion run-

done some time at Business Week and brought with him a coterie of writers with whom he had worked there. Articles

way shows. Emaciated models paraded across the page along-

often focused on professional matters or, in keeping with its

side hooded Klansmen. Mirroring the pose of the models,

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192

on topics such as injection molding techniques, finding its

we even somehow wrangled our way into the VIP lounge

apex of expression in the monthly column of the absurd:

upstairs , where the three of us sat lined up on a couch right

"Materially Speaking by Mort Blumenfeld."

next to David Byrne, lead singer ofTalking Heads. The girls

It should not be surprising, therefore, that the design of the

became delirious. They giggled and whispered back and

new ID was somewhat less than forward. The font was ITC

forth to each other and then finally Jane did it: she reached

Garamond, which I nicknamed ITC Gouda for its processed

over and lit David Byrne's cigarette! He smiled vaguely and

lack of character. For the cover of the magazine, the editors

said "Thank you." We all became delirious.

seemed determined with each issue to somehow symbolize

On too many occasions, I didn't get home until four or five

"Design" visually-Design and the Auto Industry, Design

in the morning. I would sleep feverishly until seven, jump

and the Plastics Industry-and resolved to do so with the

out of bed and zip uptown in the E-Train to midtown, where

presumably universally-understood icons of the drafting

ID was located.

table and the T-square. I successfully battled this concept

By the fall of that year, I was already getting restless in my

each time.

job. I had managed to garner a couple of design awards for

Jane arrived in the city in the spring of 1979, and the partying began. Her friend Susan's credo was "There's not a door

all black-and-white publication, full of articles like "Design-

in New York that can keep me out, " and the three of us

ers May Help Avoid Bust In Running Shoe Boom. " I tried.

the publication. But it was not easy to infuse life into the

proceeded to test that faith by crowding to the front of every

Looking back, I think there were many instances in which I

line and weasling our way past every doorman at Mudd or

tried too hard. But I was forcing an a::sthetic to fit into a

Hurrah or the-flavor-of-the-minute club . Once, at Mudd,

medium where it did not belong. Jane and I revved up our

P H 0 T 0 G R A P H Y

A N N U A L

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what made Fetish so appealing. Our naivete and "there's-not-a-door-in-New-

long-discussed desire to work on a project together. She helped me with a couple of !D's covers. In spite of our complaints,

York ... " attitude landed us interviews

we both had a lot of respect for ID, particularly its halcyon days in the '50s, its pages graced with the likes of Alvin Lustig, Charles and Ray Eames, George Nelson and Harry Bertoia. But this most recent incarnation of ID lacked passion. It had none of the sweaty intensity of the rest

with everyone from Betsy Johnson to Robert Venturi, who were coaxed to talk more about their passions than their projects. Other articles examined pop life through the lens of material culture, celebrating, for example, Barbie's 30th anniversary with an analysis of the

of life as we were living it.

acquisitive birthday girl's ever-accumu-

So, with another Cranbrook alumnus, Terry Main, we decided to create an after-work hobby for ourselves by starting our own magazine. Our magazine

lating pile of possessions. We explored the rising tide of interest in Japanese Premiere cover of Fetish : The Magazine of

the Material World.

big cover story on the same phenom-

would be about design, too, but about the ubiquity of

enon, tracing similarities between Zen Buddhism and the

design in daily life, its passionate and seamless inclusion in

obsessively popular Japanese arcade game pachinko.

everything from fashion to music packaging to collectibles.

Getting Fetish out the door and to the printer each time was

In angry punk rebelliousness, we wanted to tear down the

no small feat-especially since we all had real jobs. During the design phase, we would work at Jane's Murray Hill apartment. Evenings and weekends saw us meticulously collaging each page by hand. We would photocopy huge blocks of type to use as dummy text, and set headlines a word at a time using scraps from specimen books. Photographs, too,

divisions between art and life, design and art. We also vowed that our magazine would shatter !D's ingrained establishment habit of segregating design into camps of "good" and "bad." No, we would countenance no distinction between high and low, but rather would celebrate Wurman's "manmade environment" in all its richness. And of course, we set

Fetish: The Magazine ofthe Material World.

were copied until we were happy with the design. When each spread was done to our liking, we would send out for real type and halftone veloxes or photostats of all the pictures. With the elements finally in place, we would begin the mechanicals. These were enormous pieces of illustration board that contained many layers of acetate-one for each

Perhaps it is obvious by now that the main thing we were

color or superimposition of type and image. First we ruled

trying to accomplish with Fetish was to make design be more closely akin to rock music. That entailed bringing to it not

out the grid on the boards in non-reproducible blue pen.

Then, we used gallons of rubber cement to secure veloxes and type in place. Areas of solid color were created with a substance known as rubylith, which was a thin acetate coated with red film; we cut our design with an X-ACTO®

out to shake up the stodgy New York design scene: egged on

by Greiman's "new wave" (as the style came to be known) work for Wet, we would embellish this content with a ritualistic orgy of graphic self-expression. We called the magazine

only a sexuality that simply did not exist in New York design studios at the time, but also a kind of celebrity glow that was unknown to us outside the pop life we inhabited at night.

Starting a magazine at such tender ages did not seem as audacious to me then as it does now; it just seemed like the thing to do. Lorraine Wild was in New York at that time, too, working on a scholarly magazine called Skyline, published by the Institute for Architecture and Urban Studies and art directed by Vignelli. Lorraine had told us that this r6-page, r-color tabloid cost only $6oo to print a couple thousand copies . We figured we could somehow come up with that much, and so we dived in.

We had no idea what we were doing, and I believe that is 194

culture six months before Business Week's

P H 0 T 0 G R A P H Y

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knife, peeled away the red that we didn't want, leaving behind the desired shape which the gigantic printer's camera would record in the kodalith film used to burn the printing plates. Creating the mechanicals was such a complicated and precise task that we could not do it at Jane's cramped apartment. Instead, we would sneak after hours into the offices of ID, where there were drafting tables, parallel rules and all the tools we needed. Late one Saturday afternoon, the magazine's owner, James Fulton, discovered us working there, up to our elbows in acetate. He never reprimanded me, and I always speculated that he was

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in some way intrigued by our chutzpah.

an enormous Thanksgiving buffet.

Somehow, having a job-and-a-half did not interrupt our party schedule. Several nights a week, having finished a full day at salaried work and the early part of the evening collaging or making mechanicals for Fetish, we would don our club clothes and head out. The next day we would suffer immeasurably, but youth learns certain lessons very slowly.

The best was another private party early one morning at some club or other. Maybe only 30 people were there, Andy Warhol among them at a table with a gaggle of his boys. And then it happened: me and Mick Jagger, alone on the dance floor, dancing by ourselves! Mick was doing way worse than I, and was finally dragged off the floor by Keith Richards. One night, I

One particularly shaky Saturday mornactually met Andy Warhol. He was ing we were trying to think of a name coming out of the Ninth Circle with to put on Fetish's masthead under Art Cover celebrating Barbie's-the original Henry Geldzahler, and we struck up Direction. Our own names already material girl-30th birthday. a conversation. I told him about Fetish. appeared too many times and we wanted He said, "Oh really? I publish a magazine, too! " Of course, to seem like a bigger operation than we really were. The name had to sound hip-no way we were going to be Interview enjoyed an international celebrity that Fetish would Kosstrin, Main & Sterling-but the only other little group never know. But I still thrilled at the moment and kept thinkwe knew of with an irreverent name was the newly-formed ing, "Not bad for a little hayseed from Oklahoma. " M&Co., which had been named after a sign on a building The leitmotif for our lives in this particular moment was across from their studio . Our hung-over brains were chug"Fear of Music," an album by Talking Heads released in ging along in first gear when Jane finally said, ''I'm so spaced."

1979. Songs like "Heaven" ("Everyone is trying to get to the I responded, "If you're spaced, then I'm double spaced." bar. The name of the bar, the bar is called Heaven ... Heaven is And that is how the name of our future business-Doublea place where nothing ever happens ... ") and especially "Life space-was born.

During Wartime" ("This ain't no party, this ain't no disco , When the first issue finally came out, Fetish rather quickly this ain't no fooling around. This ain't the Mudd Club, or became a cult hit within avant-garde pockets in urban centers CBGB, I ain't got time for that now . . . I changed my hairaround the world. Fetish brought us our fifteen minutes of style, so many times now, I don't know what I look like ... 'T fame . More important to us at the time, it proved to be the were our hymns at the altar of Pop, and gave voice to our key to getting whisked right up to the front of the line and anxieties in an anxious era. straight through the door of just about any club in New York.

The $6oo that Lorraine Wild had told us it would cost to Premier parties were held in our honor each time a magazine produce a magazine grew exponentially each time Fetish came out, at hot spots like Hurrah and Interferon. Then the came out : we had increased the number of pages; we media cannibalism began, and other magazines wanted simply had to have a 4-color cover; and our mechanicals to write about our magazine. We were interviewed, phoincorporated so many complicated layers that the printer tographed, and featured in rags as far-flung as US in the in the little shop Lorraine had used laughed at us and United States and Popeye in Japan. Not that all of this attenturned us away. Loans from Jane's grandmother filled in tion brought us any money. Once while hurrying to Jane's the financial gaps, but after three issues , her generosity apartment to be photographed for the New York Times, Terry ran out. Fetish died. But our youthful narcissism had been and I joked that we didn't even have enough money for a amply titillated, and we were in no way ready to stop hamburger afterwards. making noise.

It seemed that one day we awoke and found ourselves in 1981 ... the middle of the kind of life that every artistic kid dreams Summer. I spent much of this one sweating on my knees, of living in New York City. It was an endless string of parties.

Truman Capote and Liza Minelli were present at one for chipping away old tiles from the floor of the loft space I was renovating above the Waverly Theater in the Village. This the fashion designer Valentino at Studio 54, when I literally was to be my new life, shared with my companion, Huck bumped into Mikhail Baryshnikov as we both gobbled from 196

P H 0 T 0 G R A P H Y

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Joe Michl

]oe Michl for Parallel Productions

p /~ R /~ L'-E L -~-----

-

-------

-

For Portfolio or Stock Call Representatives Naedal McMullen or Susan Austrian.

612.874.1999

Fax: 612.874.1998

www. win te rn et.com/-pa rallell

Snyder, whom I had met only a few months earlier after the Spring-and final-issue of Fetish was published.

We had met at a party thrown by one of the magazine's advertisers. I was instantly smitten. Huck had spiky bleached hair, earrings and otherworldly attire that immediately codified him as a fellow iconoclast. He was first an artist, second an Off-Broadway set designer, and last a carpenter; and we marvelled at the destiny signified by the fact that our paths had doubtlessly crossed, unbeknownst to us, more than once somewhere in the magnetic and magical East Village.

We were impressed with each other, although I more than he, I later suspected; and we neurotically magnified each other's ego, which for my part helped fill the gap that Fetish had left. Our loft became the vortex for a particular kind of art party, which Huck utilized to network for his career.

Back to work. Jane decided to move the laptop drawing board and T-square we called a design studio out of her apartment and into a commercial space. We still hoped Fetish might get additional financing and we wanted to be prepared to pro-

duce it when that happened. A friend of hers had a fashion showroom in the garment district with a warehouse space in the rear, a corner of which the friend agreed to rent for $200 a month. We took it. Beneath rows of rhinestone-studded tuxedo shirrs hanging on closer poles, we set up two doors on sawhorses for desks, a battered old filing cabinet from Jane's accountant father-and Doublespace was in business.

Jane had been freelancing for a while for a designer named Valerie Pettis. Together, they had worked on a massive promotion for Revlon's introduction of the fragrance Ivoire into Egypt. After that, Valerie had become overwhelmed with other projects and called in Jane to help with a particularly stubborn one-a logo for a new festival of avanrgarde dance and performance to be held at the Brooklyn Academy of Music, called Next Wave.

Working for weeks, Jane and Valerie tried many variations for the logo, bur all were rejected either by themselves or by the client. At the peak of frustration , they tried making two enormous film negatives of stripes and a film negative of the words Next Wave. They sandwiched all three together, twisted the stripes until a moire resulted, and the Next Wave logo appeared. At that point, Valerie turned over the design of the festival 's poster to us (guided by her art direction), and that became the first client project of Doublespace.

Other projects soon followed. As a result of our club connections, we began getting asked to do small things for them, like invitations or the occasional poster. We designed the original Danceteria logo , which, in spite of our sawhorse desks, signified to us a kind of success.

It was just Jane and me now. We had had a falling-out with Terry, and Jane and I executed a sort of design coup d'etat.

Even though I was still employed, I would work with Jane in the evenings or on weekends to get things done. One day, she called me at ID and said, "We're getting too many projects. You'd better quit your job." I did, and in January of 1982, after three years to the day at ID , I became officially self-employed. • Editor's Note: In a sense, American graphic design and David Sterling grew up concurrently. In this two-part article Sterling gives the reader an intimate view ofone designer 's life these past two decades.

Part two appears in the next issue.

-DK HoLLAND 1.

198

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Permisson to reprint lyrics from the album " Fear of Music," granted

by D avid Byrne, Todo Mundo.

Stock Agency Query Form The following form and text are excerpted from Stock Photography Business Forms by Michal Heron, published by Allworth Press. To order a copy, send a check or money order for $I8.95 plus $5 shipping and handling to Allworth Press, IO E. 23rd Street, New York, New York IOOIO. New York residents must add sales tax.

0

nee you have selected the agencies that match your specialty and that have received good recommendations from clients and photographers, write to those agencies to request their submission guidelines. Each agency has its preferred way of dealing with new photographers.

When you have been in touch with a few agencies and established mutual interest, the final stage is to query them in detail using this form. Keep in mind that the form is designed so that when you are finished , you will have answered every question and satisfied yourself on all the important points in an agency relationship. However, it's not in your best interest to bombard the agent with questions all in one sitting-this is not an interrogation. You will begin to gather information during preliminary conversations and from sources such as their submission letter and sample contract. Just be certain that you have all the information when you are ready to make a decision on a contract being offered by an agency.

Before joining an agency, it is important to be satisfied as to its financial stability. A good way to approach this is to get guidance from your accountant or lawyer. Helpful information would include financial statements, credit references and whether UCC filings have been made to secure loans to the agency. (For the latter, it is important to know if the agency has pledged the photographer's percentage of the accounts receivable, or the "inventory" of photographs on file , as assets to secure a loan.) The vast majority of stock agencies are run by honorable people, but it's your responsibility to be sure that the agency you are joining lives up to the highest ethical standards in the business. •

Contract

0 Yes 0 No 0 To a region? 0 To a specialty?

Is your contract exclusive?

If yes,

0 To specific pictures only?

Are my house accounts exempted?

0 Yes 0 No

How long is the term of the contract? _ _ _ _year(s) Is the renewal automatic? 0 Yes For how long? year(s) Is there an audit provision?

0 No

0 Yes 0 No

Editing What is the turnaround time for the return of edited photos? week(s) How quickly will submitted slides be edited and in the file? week(s) How long does it take for the return of slides not selected? week(s) How do you protect the physical images? _ _ __ __ _ __

Marketing W hat are the market strengths of the agency? _ _ _ _ _ __

Which market areas do you plan to enter? _ _ __ _ __ _

What are the growth plans for the agency? _ _ __ _ _ __

How do you let photographers know your photo needs?

0 Newsletter 0 Other _ _ _ _ _ __ Do you use electronic marketing techniques?

If so, 0 CD-ROM?

0 Yes 0 No

0 Other _ _ _ _ __

What protection do you provide against misuse of photographs through electronic imaging? _ __ _ _ _ _ _ _ _ _ __

Catalog 0 Yes 0 No

Do you publish a catalog?

If so, how many are printed? _ _ _ __ How many catalogs are distributed to domestic buyers?

To buyers worldwide? _ _ __ What percentage is paid to the photographer on photos sold through the catalog? __% Am I consulted on participation?

Is there a charge to be in the catalog?

(Ask agency about)

If yes, how much? _ _ _ _ __

0 Yes 0 No

Is the photographer charged catalog mailing costs? 0 Yes 0 No

Submission Policy

Do you charge for separations?

How many photographs do you request for portfolio review? _ _

0 Yes 0 No

If yes, do you add a markup on separation costs?

0 Yes 0 No

0 Yes 0 No

How many photographers do you represent? _ _

Is the catalog sold retail?

Are any of them owners?

0 Yes 0 No Are any of them on staff? 0 Yes 0 No

Does the photographer receive a royalty on retail sales of the catalog? 0 Yes 0 No

How many photographers with my specialty do you represent?

Pricing Do you set a minimum fee?

Will you provide the names of agency photographers that I may contact? 0 Yes 0 No How large is your file in color? _ _ In black-and-white? _ _ Formats preferred .

202

0 Yes 0 No

AGENCY NAME

0 35mm 0 21!4 0 4 x 5

P H 0 T 0 G R A P H Y

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0 Yes 0 No

Do you give clients volume discounts?

If so, on what basis?

0 Yes 0 No

0 per year 0 per volume 0 per project

Can a photographer elect not to be included in discounts and bulk sales? 0 Yes 0 No

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Can I set a minimum price below which my photographs will not be sold? DYes D No May I see a copy of your price list? DYes D No

Payment What percentage of the fee is paid to the photographer? _ _

'I

%

Is that percentage of gross or net? _ _ _ __ How do you define net? (What is deducted from the gross?) _ _ _ _ __ _ Is payment monthly, bimonthly or quarterly? _ _ _ __

Do you need somebody1 Temporary or long term.

On s1te or off.

We're there.

Is the photographer's percentage of the fee held in trust?

DYes D No Are the costs of dupes charged to the photographer?

DYes D No If so, are costs deducted from fees only? DYes

0 No

Is there a fee charged to the photographer for filing photographs? DYes D No If so, how much?$ _ _ __ Are holding fees charged to clients? DYes D No Are holding fees shared with the photographer?

DYes 0 No If so, to what extent? _ _ _ _ _ _ __ Are research fees charged to clients? DYes D No Are research fees shared by the photographer?

DYes D No If so, to what extent? _ _ _ _ _ _ _ __

Sales Statements Does your sales report include: Buyers name? DYes D No Specify rights granted?

0 Yes 0 No

Gross sales figure? DYes D No

Art D1redors and Des1gners

May I see a sample copy of your sales statement?

DYes D No

Legal Terms-Copyright Protection May I see a copy of your delivery memo terms and conditions?

D Yes D No

D1g1tal Arhsts

Does your delivery memo require copyright protection?

DYes D No Does your delivery memo require copyright notice credit?

DYes D No

Pro)ed Managers

What fee do you stipulate for loss or damage?$_ __ _ __ Is the photographer consulted on settlements?

DYes D No How do you protect the copyright of images? _ _ _ _ _ __

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Foreign Agents How many foreign agents do you work with? _ _ _ _ _ _ _ _ _ __ In what countries? _ _ _ _ _ _ __ _ _ _ _ _ _ _ __

What percentage of foreign subagent sales is paid to the photographer? % Do you keep funds from foreign agencies in escrow?

DYes D No How do you define subagent?

www. paladinstaff.com

Are subagents foreign agents only?

DYes D No

Are domestic offices considered subagents?

204

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DYes D No

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Photograph by Jim Brandenburg/Minden Pictures. Printed in the United States of America. © 1998. Scheufelen North America, Inc.

Stock Photography

T

he number of stock images used

Almost half (46%) of all advertising

Less than half (43%) of agencies plan to

in all creative markers jumped

agencies plan to invest in royalty-free

buy stock photography for a specific

from 5.8 million images in 1996

stock photography in a digital format.

project and expect to pay the typical

to 7·4 million images in 1997. Much of this increase is due to sales of royalty-free

Many are using their "internal royalty-

licensing fees for these stock images.

free image collections" as a revenue

Stock illustration is also expected to

collections on CD-ROM, which now com-

source and bill out images when used in

grow as agencies and publishers try to

prise 46% of rhe marker while tradition-

comps, sketches and as the final image

break away from the clutter and "same-

al stock image usage dropped from 38%

in a project.

ness" of photographic images.

to 24% of the marker in one year.

Designers are also embracing royalty-

Survey participant s were asked to describe what stock imagery investments they pl ann e d to make in 1998.

-

Agenci es

-

Designers

-

Photographers

free stock images, and 68% say their use will increase; 42% say rhey use the Internet to acquire licensed images.

More PC buyers (76%) than Mac buy-

stock video

ers (64%) say their use of royalty-free images from CD-ROMs is increasing.

Photographer's clients are increasingly

stock photo image collection online stock illustration

asking for stock images in digital for-

- - - · 17 - - · 14

mats rhat can be re-purposed and reformatted for multiple uses including

4

--9

office printers, digital presses and the Internet.

- - 11

.2

The exploding use of royalty-free stock images along with the increased use of other stock images is most certainly

stock photo images: slides, chromes, etc.

19

causing many photographer's incomes

15 -

to drop. Photographers see the need to

4

ger involved in stock photography as

stock photo images: digital

52% cited stock as a sales opportunity

21 21 -

in 1998 and many are considering making archived images available on CD-

5

ROM and rhe Internet.

stock image collection

Most photographers are still wrestling

30

(digital format clip art)

19 -

wirh the transition from rhe analog

4

world of traditional film to creating digital original and scanned images.

stock photo image collection CD-ROM

29 27 -

5

and digital cameras. •

stock photo images

43

(per project basis from stock photo agency with royalty fee)

31 10

stock photo image collection (royalty-free,digital format)

Some photographers are beginning to invest in scanners, computers, software

46 32 Oo/o

www.trend-watch .com pa rtners@tre nd-watch .com (401) 568-9899

7 10o/o

20o/o

30%

TrendWatch

40%

50o/o C 0 M M U N I C A T I 0 N

A R T S

209

H 0

w

A

CONTACT BEVERLY ORNSTEIN

R D TEL 212/334 6667

s c

H A T

FAX 212/334 6669

z

www.howardschatz.com

~

Stock vs. Original Photography

(1) ~

~

BY BARBARA GoRDON

n (1)

I

f there is a primary concern in the commercial photog-

If money and time are the main reasons why clients turn to

raphy field today, it has to be-in a world that is using

stock photography, then the obvious line of thought is,

stock photography more and more-what can a free-

"Can a photographer do anything differently to compete

lancer do to compete for the individual assignment or orig-

with these factors?" In any other industry, companies come

inal photograph?

up with ways to meet customers' needs all the time. The

As a rep who has been asked this question, I decided to

automobile industry is a good example of companies man-

conduct my own investigation into the subject by calling

aging to take care of every customer need regarding price,

a wide number of art directors and art buyers in the adver-

size, delivery, prestige, safety, engineering. Can the commer-

tising and editorial markets. I asked them a number of

cial photography business do the same thing, set up different

questions: if they used stock or original photography; why

types of suppliers the way the automotive industry does?

they used photography and how often; did they prefer one

At first blush, the question would be, how? It sounds impos-

over the other; what were the advantages and disadvantages

sible. But right now, in New York, there are photographers

of each; and, if there is anything a commercial photogra-

who shoot reference for illustrators to use. These photogra-

pher can do to increase the chance of getting more assign-

phers have access to models, props and costumes in their

ment work.

studios; they can pull together and execute a shot in one

If I had to distill my respondents' answers down to a few

day for a reasonable fee. The quality of their work is excel-

words, it would be these: Yes, everyone is using more stock

lent for use as a photo reference for an artist, however it is

photography than they did four to five years ago and the

not appropriate for a client's ad or publication. It is also

reasons have to do with either money (limited budgets) or time (tight deadlines), with budget considerations being the

priced reasonably because it is not going to be published but used as a reference tool. I use this as a small example of

primary reason two-thirds of the time.

a rudimentary form of photography that exists, that can

Following is a quote from Marla Bulitch, art buyer for Young

& Rubicam in San Francisco. Her concise comments summed up the general consensus of the people I interviewed.

"In my experience, art directors seem to prefer original pho-

212

satisfy some money and time demands.

Would it be possible for some photographers to set up a situation for advertising and publishing that could compete with what stock can sometimes offer in terms of money and time?

tography for the main visual in a print ad, simply because

Would such a system work in the upscale commercial

they have the opportunity to execute their concept in a

photography market? Would anyone want to try it? Wouldn't

precise manner. They are working with a blank canvas rather

it completely change the way of doing work as we now

than starting with an existing element such as stock. They

know it?

can work with the photographer to manipulate the element(s)

I only bring up the subject because when starting to deal with

in the visual to accurately relay their creative vision. They

how to compete in the current marketplace, one should

have the opportunity to play with different variables such

consider all the options and, in fact, look to other indus-

as lighting, color, background, etc.

tries to see how they have handled similar problems. It is in

"In general, stock photography is less expensive. You are pay-

the search that answers will start to materialize.

ing for usage without expenses such as film, props, stylists,

One other thought that occurred to me, "If you can't beat

models and assistants. Stock may also be chosen when tim-

them-join them." Perhaps the average photographer should

ing dictates a job. A photo shoot requires more planning

just beef up their stock portfolios and shoot stock exclu-

and coordination.

sively. Indeed many photographers are increasing their

"However, stock prices seem to be going up as agencies are

stock portfolios-bur not exclusively.

buying bigger usage so the client has the opportunity to

Photographers who specialize in stock, and make a success-

run the ad more. Digital media is a fairly new usage for

ful living at it, tell me that it is not easy work. In fact it can

advertisements and there are no standards for purchasing

be arduous. One must be constantly shooting for, and add-

these rights. Stackhouse prices differ dramatically."

ing to, the inventory. They tell me that when a client calls

P H 0 T 0 G R A P H Y

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denisscoft STOCK PHOTOGRAPHY

www.denisscott.com A thank you to our new clients.

Tel 630-910-5060

Fax 630-910-5080

E-Mail denis@wwa.com

for a setting sun, it is not sufficient to send over one or two

them, the individual photographer could include some of

shots. Instead, a photographer must have something like 20

these salient points on his/her mailers and promotions to

or 30 shots with a wide range of variations. They also told

reinforce the information.

me that images in a directory one year are out-of-date by

Just in talking to art directors and art buyers on my own,

the following year. The successful stock photographers I

some strong selling points have come through:

spoke with, keep an almost super-human schedule of shooting and reshooting; while top-notch clients want top-notch photography, some clients want mundane and predictable subject matter, which can translate into shooting what may not be very creative or stimulating.

own unique photographic or marketing statement rather than trying to fit an advertising or marketing message to an existing photograph that may have been used in another context.

As a rep, I do some stock sales for the people I represent, so let me introduce another point. As I was discussing this article with our buying audience, several people mentioned that they had an account that always bought stock, and only stock, and was always looking for specific subject matter (e.g., waterfalls, farm scenes). It was suggested that

2. There often can be a better price break in using an

original photograph, especially in a multiple-use situation, because the rep and photographer are trying to establish a client-talent relationship for the long run as opposed to the stock situation where they can only make money by charging for every aspect of the photograph. Sometimes this can

individual photographers and their reps, when canvasing pro-

mean that a stock shot can cost almost as much as, or more

spective clients, should ask art directors and art buyers if

than, an individual shoot.

they have any such accounts and if they have appropriate subject matter, they should go directly to the accountsthey would directly benefit from getting more of the money and at the same time strengthen the photographer/client relationship. On a final note, one always has the option of personally (instead of a rep) handling stock, which assures a better cut of the money.

The more I spoke with people and the more I thought about the stock versus original photography situation, there is one action that photographers can take immediately, and that action lies in public relations and promotion.

3· Often art directors and creative directors prefer an original photograph over a stock shot, because of the greater control they have over the situation (casting, settings, props, lighting, etc.). Morale can also be an issue, a happy work force (e.g., the art director or creative director) is always a plus and can only result in the best outcome for the client.

More time and investigation would bring out even more notable marketing points concerning the use of an original photo shoot. We should take a lesson from the advertising/ editorial clients we work for; they continuously put out information on their company's strengths and expertise.

The stock industry does a very good job of promoting avail-

Commercial photographers should do the same.

ability, diversity and accessibility. Art buyers and art direc-

Obviously, the photography field is going to change. It may

tors tell me that they are constantly barraged with materials

be a permanent change or a transitory one, or it just may

from the stock industry telling them why they should use

settle down somewhere between the two extremes-like so

stock photography. This is exactly what they should be

many other "changes" in this industry.

doing-promoting their strengths to their potential clients.

It is what business is all about.

214

r. The client, in using an original photograph, makes their

There may be individual photographers who will find a way of setting up a studio situation that can compete with

Of course individual photographers are also busy promoting

stock pricing, some photographers will sell entirely through

their work, but with one big difference-each individual pho-

stock and still others will at least increase their stock inven-

tographer promotes their unique talents and abilities. To

tory. But, original photographs are still with us and still

my knowledge, no one is promoting the unique advantages

wanted and needed by some of the most prestigious clients

of an original shoot to prospective clients. Why can't some

in the business. I suggest that the photography industry

of the professional photography associations start an edu-

keep looking for ways to stay competitive by continuing to

cational and promotional program outlining the benefits and

improve the quality of work and wholeheartedly promoting

advantages of using original assignment over stock? Once

the value and advantages of original photographs to their

the pluses of this are organized, in addition to publishing

buying public. •

P H 0 T 0 G R A P H Y

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Now

you

&ee

t.

S H A R P S H 0 0 T E R S'" Great stuff. Free research. 1-800-666-1266.

premium stock photography

Broken Funny Bones and Frayed Heart Strings

BY ToM MoNAHAN

W

hen most advertising people try to pull off that emotional thing; funny, sad and anything in between, they usually fail.

In the majority of these cases we are amateurs trying to play in a professional's game. A game where even the professionals look like amateurs much of the time.

Let's look at funny first. Most of these ads are so not funny, it's not funny.

There is nothing more embarrassing when judging an awards show than to sit through one unfunny TV or radio commercial after another.

Funny is really hard.

Look at all the bad sitcoms on TV. Look at all the material that makes it to the final monologue for Leno and Letterman, yet still bombs. Look at three-quarters of "Saturday Night Live." Look at half of the bits on "Seinfeld."

(Yes, "The best comedy of all time.") Look at the lame stuff the best writers in Hollywood put on the teleprompter for Billy Crystal and all the other victimized presenters at the Oscars. It's truly embarrassing.

Ad people are not "Seinfeld" writers.

Ad people are not "Saturday Night Live" writers.

Ad people are not Jay Leno writers.

Ad people are not David Letterman writers.

Ad people are not "Mystery Science Theater 2ooo" writers.

Ad people are not writers for "The Simpsons" or "The Larry Sanders Show."

Ad people aren't even good enough to write for "The Nanny." Ouch.

Yes, some ad people can be funny. But most aren't. And those who are funny some of the time are not funny all of the time.

Yes, at lunch we're funny. Uproariously funny. (If anyone takes lunch any more).

Behind the one-way mirror at the focus group we're hilarious.

And snickering in the back row at a client's sales meeting, doing snide, malicious comm,entary on the formal proceeding-well, there, we're riotous.

Then we try to pull it off in commercials, and, sadly, most of that quick wit and humor doesn't even come close to translating.

218

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There are a number of reasons for this consistent failure.

Beyond the fact that we're simply not as funny as we think we are, I believe the two major culprits are poor acting and directing.

In most TV and radio ads the acting is simply too broad.

Ask most actors to act funny, and guess what they'll do?

They'll act funny. Oh, they won't be particularly funny.

But they'll definitely be acting funny.

This sophomoric stuff often just comes off as silly.

Frequently TV commercials that use on-camera dialogue, to try to convey funny, fail because we try to pull off a $500,ooo commercial for $50,000. Not a particularly wise idea. (Hell, spending half a mil ' using great talent and direction isn't a sure bet.)

If you can't afford high-quality talent and an experienced, capable dialogue director, my advice is to find another concept.

If you don't have the bucks to pull off talent-driven funny, try doing situation-driven funny. Many ad people don't see this difference. Situation funny is usually just about as funny in finished form as it was in storyboard. Dialogue funny very often isn't. Why? Because situation funny is usually more of a conceptual thing. Dialogue funny is usually more of an executional thing. Execution you have little control over) and execution that would probably bomb even if you did have control. (Sorry) but most ad schleps aren't Hollywood comedy writers. Otherwise they wouldn't be bustin' their butts on health care ads.)

Ask yourself, is the concept funny? Not the words. Not the delivery. Not the inflection. The idea!

As for directing funny (or sad, or any other real human emotion), using even decent talent on camera without the skill of a great director is a prescription for failure. Is Steve Martin a funny actor? You bet. Did you see him in Sergeant Bilko? Didn't split a gut on that one, did ya? How about Jack Nicholson? A pretty decent actor, right? Did you see him in The Crossing Guard directed by Sean Penn? He wasn't such a great actor in that film , now, was he?

When you're looking at storyboard ideas ask yourself, "Is the idea inherently funny, or does it need to be pulled off by the actor to make it funny? " If it requires acting, nine times out of ten you're better off going with another concept.

I look at dozens of reels yearly in my role as a creative consul-

tant. It's my estimation that over half of the work on most

Yes, challenge yourself. But be real too. If you're not Larry

agency reels could be greatly improved if they just stopped

David, you're not Larry David. If your director's not

trying to be so damn funny with on-camera talent. Those

Martin Scorsese, he's not Martin Scorsese.

who find funny situations that can be executed without

Utah Jazz star guard John Stockton is not Isaiah Thomas.

in-your-face talent, if there's talent at all, are usually more

He doesn't have all the skills of Isaiah Thomas. Not even

successful. (Of course, that's what situation comedy is sup-

close. Stockton doesn't have Thomas's quickness. Doesn't

posed to be. Oh, really?)

have Thomas's moves . Doesn't have Thomas's leaping abil-

Enough of the funny. Let's talk poignant.

ity. Yet, John Stockton is arguably one of the best point

Are we kidding? We're trying to induce tears in commer-

guards the game has ever seen. He doesn't try the between-

cials for savings instruments in 30 seconds. I'm sorry, but

the-legs dribble much. He doesn't try the behind-the-back

it ain't gonna' happen.

pass often. All he does is get the ball to the guy who scores.

And he has more assists than anyone else who ever played

I stand corrected. It does happen. But, believe me , just because Ernie Schenck can do it doesn't mean you can do it. Sorry.

greats. A little man in a big man's game, because he knows his limits and plays within them.

At a creative director's event I hosted a few months back, while doing one of my uncontrolled rants on the subject of tasty art direction , I happened to mention to the assembled group that "You ain't John Doyle! So don't try to play his game!" At the end of the program a very good art director/ creative director approached me and said, "Thanks for telling me I'm not John Doyle, I need to face that and play within my game." That, my friends, is a very mature, realistic, self-aware individual.

There are some amazingly successful writers and art directors in the advertising business who aren't particularly brilliant at their respective crafts. All they do is play within their games, and do successful creative, time and time again. I don't feel comfortable naming names here because I wouldn't want it taken the wrong way. But, I must tell you, in a warped sort of way, I have as much respect for the ad creative who has the discipline to play within his or her game as I do for the more skilled person who has the rare

I'm not telling you to not challenge yourselves. I'm not saying stop experimenting and cease growing. I am saying recognize your limitations. Recognize the limits of your budgets and the limits of the people you employ to bring your ideas to life. If you can't pull it off, you can't pull it off. So don't try. That's not failure. That's success.

ability to pull off more intricate work.

I labored many years with a guy who was one of these amazing laborers. This art director very rarely stuck his neck out and took the big chance with his craft. He happened to be matched up with writer after writer who provided most all of the creative spark. Maybe that's just good luck. But,

Of course, sometimes you have to risk failure if you're going

you know, over a ten- or fifteen -year period this individual

to grab the brass ring. But be straight with yourself, bunky,

won more awards than all but a very small handful of people

if you don't really have a prayer at grabbing the brass ring,

in the entire country. Because he very rarely blew it with

then why frustrate yourself. And don't rationalize, "It was

out-of-control design or art direction. Figure it out.

touching in my mind's eye, so it must be touching now."

220

the game. Ever. John Stockton is one of the NBA's all-time

So what's the message here? Conceptually, be daring. Push

We need to recognize the difference between creativeness

it out. Take your chances. Executionally, play within your

and talent. The creativity happens mostly in your mind.

abilities and those of the others you employ. Don't try to be a

You have a fair amount of control over that. Talent happens

Letterman-level comedy writer if you're not. Don't try to

mostly in the execution phase. There, many people

be a Pat Conroy-level tearjerker if you're not. And, please,

contribute, and in most cases, you have little control of

don't bet your awards shelf on some triple-scale actor who

what those people do.

isn't good enough to be in a bad sitcom or soap opera.

Most all individuals have unlimited creative ability if they

Yes, there are some people who can do funny or touching,

work hard enough. Most all people have very limited capa-

and do it really well. A rare few. Let's sit back and enjoy

bilities in the talent area, no matter how hard they work.

their handiwork. For the rest of us , let's be funny at lunch.

I suggest you know the bounds of your talent and play

Let's be sad when the awards books come out and we ain't

within them.

in 'em. But, for your own good, know when to say when,

Some of the best athletes in the world are great because

and know when not to say, "At Friendly Fred's Auto Sales

they play within their games. Some of the best singers and

we stand behind every car we sell. So watch out when you

musicians are great because they don't try to do things

back up. "

they can't do.

See what I mean. •

P H 0 T 0 G R A P H Y

A N N U A L

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FUSE98:Beyond Typography

BY MARK EASTMAN

T

o anyone familiar with FUSE font releases over the last few years , the conference FUSE98: Beyond Typography might be less of a surprise-but not much. FUSE font publications, quarterly font package collaborations initiated by Neville Brody and released through The Font Shop International ( www.fontshop .com ), consist of a set of experimental fonts by four different type designers, including a poster for each font by the designer and a fifth poster with an editorial written by Jon Wozencroft or a guest.

FUSE events, which have previously taken place in London in 1994 and Berlin in 1995, have been an extension of the ideas explored in the seventeen FUSE releases to date and a forum for examining and exploring new ideas about typography, language and design.

FUSE98 was no exception in this regard and brought together a diverse range of speakers from both inside and outside the realm of typography. The conference, a joint venture of Neville Brody, The Font hop and MetaDesign, was held May 27-29 at Masonic Auditorium in San Francisco with rains from El Nino still lingering. The theme "Beyond Typography" was meant to raise questions about the trend toward emphasizing technology and style over content and to debunk techno-hype in order to move from the "how" back to the "what" and "why" of design in the digital era.

The conference consisted of speaker presentations interspersed with a wide variety of contemporary and vintage film and video shorts as transitions between the speakers. A computer lab was set up with Macintosh computers wired to the FUSE98 Web site ( www.fuse98 .com ) in a room on the lower level of the venue exhibiting FUSE publication posters. Adjacent to the lab was a series of multimedia installation projects by various artists. Day one began with emcees Erik Spiekermann (of MetaDesign/The FontShop), Bill Hill (MetaDesign, S.F.) and David Berlow (Font Bureau) giving opening remarks about what to expect from FUSE and introducing Neville Brody.

Brody's opening speech criticized the current state of design, particularly on the Internet which he feels is full of cliches such as mock remote control button interfaces. His speech was a call to arms to implement design in ways that communicate experience on more humanistic terms. Writer, designer and editor Jon Wozencroft (who wrote the text for both of Brody's published monographs and teaches at the Royal College of Art in England), introduced the transition shorts and conveyed his passion about FUSE and gaining insights and ideas from other mediums.

Some of the many highlights at FUSE98 included type designer David Crow who presented work including narrative alphabets

and the ideas behind his projects exploring language of symbol and meaning within a cultural context. Designer Rebeca Mendez, an ebullient and energetic speaker, showed her highly personalized projects and explained her working process drawing upon conceptual fine art influences in other media such as sculpture and video. Type designer Matthew Carter provided an eloquent, insightful and often humorous presentation with a historical perspective. He showed slides he'd made oflettering and signs (often during excursions at other type conferences) and how these led up to his new FUSE typeface Deface, that generates its own overlaying graffiti of type designer names. Designer JeffKeedy gave a brilliant, critical commentary examining the path of modernism and post-modernism in design up to the present (an expanded version is to be printed in the next issue of Emigre). Writer/critic Karrie Jacobs offered an inspiring and witty talk on the frequently absurd aspects of technology's assimilation into mainstream culture. Font Bureau senior type designer Tobias Frere-Jones gave an amazing presentation of his personal projects exploring space, time and sound.

In one, he converted a year's worth of data of high and low temperatures in Boston into sound waves and made a remarkable techno soundtrack one-and-a-half minutes long interpreting nature in music. David Carson showed photographs he'd made of environmental signs around the world that have inspired the personal expression in his own celebrated and notorious work.

German duo SKOT (Tina Frank and Mathias Gmachi) gave a riveting live digital performance from computers on-stage of industrial sound and video projection collage of image and type.

There was a recurring emphasis by Brody, Wozencroft and the emcees that the conference should be a dialogue and forum for debate, but this didn't really occur as much as many would have liked. There was one panel discussion/Q&A session moderated by designer/AlGA National President Lucille Tenazas and also informal dialog between emcees and speakers before and after their presentations. Other than this, most dialogue really took place amongst attendees in the halls between events.

Over the course of the conference about 30 transition film and video shorts were shown. These included avant-garde film classics such as William Burroughs's cut-up films, three films by the prolific Canadian filmmaker Stan Brakhage who explores film as purely visual language and Peter Kubelka's structuralist masterpiece Arnulf Rainer. Additionally, a short of Saul Bass's film title sequences, Charles and Ray Eames's film about relative size in the universe Powers ofTen, and Brian Griffin's stunning black-and-white archival montage film Urania for techno-driven music group Pan Sonic, were highlights among the films and videos.

Overall, FUSE98 was a thought-provoking, engaging and challenging event about ideas that affect the core of design, typography and how we communicate. It was a refreshing departure from the "portfolio parade" syndrome that design conferences can fall into. FUSE98 was intentionally located near the heart of the high-tech industry. Next year's FUSE event is slated for New York, center of the publishing industry. • C 0 M M U N I C AT I 0 N

A R T S

221

Cloning - The ethical debate.

Rabbi Benjamin Feinstein licensed Mohel.

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Book Reviews Real Fantasies: Edward Steichen's Advertising Photography

By Pat ricia Johnston 384 pages, hardcover, $55 Publ ished by University of Cal iforn ia Press 2120 Berkeley Way Berkeley, Californ ia 94720 [hlf.

Stei~11 '1

FM\TA ~ I ES~~:~;::~J

Between 1920 and 1930, the use of photography in advertising increased by almost 65% . As a more manipulative style of selling products emerged, photographs became instrumental in making the "perfect" world, that products promised, seem available to all. "Pho-

Black and White and Color": if photos sold more than drawings, then dramatic photos would do even better. Using Steichen's prolific work as the thread, Real Fantasies is just as much the story of the relationship between middle-class women and the advertisers. As advertising methods changed, so did Steichen's style, from stylized vignettes of the middleclass to portraits of the upper-class (e.g., Mrs. Reginald Vanderbilt for Pond's cold cream), from Modernist still-lifes (e.g., a Lux flakes ad in a 1927 Vogue or the Douglass Lighter ad in a 1928 Harper's Bazaar) with their dramatic lighting and perspectives to the equally dramatic melodrama ads of the '3os. In the latter, Steichen's emotive models, posed like

tography could make beauty accessible.

Photography made fantasies real."

stills from the latest tearjerker at the Bijou, helped convince the reader of "the dire effects of using the wrong brand of toilet tissue" ("Mother, why am I so sore and uncomfortable? "

In addition to his fame as a fine art photographer, Edward

implores a gauzily photographed young girl).

Steichen became the most successful commercial photogra-

Although she admits it is only partially complete, Johnston provides extensive documentation of Steichen's advertising photographs, the results of what must have been an exhaus-

1\•l riria .Johnslon

pher of this period. In Real Fantasies, Patricia Johnston, associate professor of Art History at Salem State College, constructs an impressive analysis of the motives and evolution of the advertising industry and the role of Steichen's

tive amount of work. Real Fantasies is both impressive research and fascinating reading.

vast output in this evolution. Johnston's methodology is to spotlight specific ads (there are over 130 reproductions in both black-and-white and color), reveal any available historical information about their goals and production and then try to gauge the audience's readings of the ads. The object is to "analyze how advertising imagery interacts dynamically with an audience to express, reflect, shape, and challenge social ideas and values." Real Fantasies falls under cultural studies: at times historical, at times theoretical and speculative, definitely academic in style and, ultimately, exceptionally readable and thought provoking.

The earlier chapters set the stage for Steichen's rise to preeminence in commercial photography, detailing his early fine art as well as his early work for patrons. In 1923, he began making photographs for Jergens's lotion ads, which eventually phased out drawings. Johnston presents many of these ads in their entirety and here the reader can see the hands

GRA

T

The Slanted Lens

By Jay P. Morga n 120 page s, paper, $14.95 Genera l Publi shin g Gro up, Inc. 2701 Ocean Pa rk Boulevard , #140 Sa nta Mon ica , Cal iforn ia 90405

''I've always felt like a cartoonist trapped in an advertising photographer's body," says Jay P. Morgan. He creates incredible setups that translate cartoon ideas into impossible situations of photographic realism.

Slanted sets allow gravity-defying situations that apparently

of the idealized post-WWI middle-class woman: hands that washed a baby or made bread in the daytime and were grace-

hurl people horizontally through the air. Camera swipes produce action blurs. Objects swing through his scenes and some use explosions, snow machines and water jets. How

fully kissed by a charming suitor in the evening ("Wonderful

does he get cows to jump around on pogo-sticks? These fan-

at their Work and Lovely at Play"). "The ads appealed to

of Johnston's take on the audience's reading.

tasies call for long hours of exhausting work by six full-time staff members including a scenic painter, a production coordinator and a set builder. Morgan's studio, where their impossible magic is made, is east of downtown Los Angeles so they can call on Hollywood's prop houses and casting bureaus.

Johnston chronicles the course of advertising motives in the

"We could do it on the computer but the excitement of the

' 2os from "The Persuasion of Realism" to "Melodrama in

process would be lost and I think the look would be lost as

both material and emotional desires. The kiss, the silver tea set, and the pearl bracelet graphically depict the woman's material rewards for competent homemaking," is an example

224

-ANGELYN

P H 0 T 0 G R A P H Y

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I

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Book Reviews

well," Jay says. "It's not to say that we don't use the computer, because on occasion we do. However, we generally get it as far as we can before we let the computer help out."

How else could he p icture eight hippopotamuses mugging in a business office lobby? The lighting is perfect but it still looks like one hippopotamus posing at different angles and composed into a herd by computer. (The caption makes

''Mother Nature

clearly intended for us to get our food from the 'Patty' group, which includes hamburgers, fish sticks and chicken

some comment about the company needing downsizing. )

The Slanted Lens harks back to the cartoon days of "Plop," "Bang, " "Wham," though the images are excruciatingly complex in execution and painstakingly realistic. The characters in their exaggerated postures pop their eyes and pur on over-surprised fatuous grins, just like in TV sitcoms. If Jay could photograph a laugh track it would be included in each photo-cartoon.

Would you like a sumo wrestler on skis hanging in midjump? What can you do with a stuffed shark? There's a photo of a doctor's waiting room decorated with hunting trophies

nuggets~'

that are backsides rather than animal heads. "Norman

-Dave Barry

realized this doctor was a bum referraL " If only they'd hire a gag writer.

It seems to me that this is a promotion book for an incredible photo studio, one that outdoes the Norman Rockwell look. If you can use this sort of eye-catching situation photography in your advertising, here's the place for careful, sharp-focus work.

-

BYRON FERRIS

Police Pictures: The Photograph as Evidence

By Sandra Phillips, Mark Haworth-Booth , Carol Squ ires 132 pages. hardcover. $24.95 Co-published by the San Francisco Museum of Modern Art and Chronicle Books 85 Second Street San Francisco, California 94105

•

•

,•

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www.foodpix.com 228

P H 0 T 0 G R A P H Y

A N N U A L

Though any photographer knows that the camera sees differently than the human eye, photography's impact has always come from its perceived ability to reproduce reality. Police Pictures: The Photograph as Evidence, the catalog of the eponymous exhibit originally presented by the San Francisco Museum of Modern Art, questions the truth-telling quality of the camera with a collection of 94 black-and-white photos of criminals, the insane and other marginal groups.

In her scholarly introductory essay, curator Sandra Phillips

I

9 9 8

Book Reviews

shows how crime scene photos and mug shots used by the police partake of a heritage of "scientific" investigations documenting the supposed inferiority of the subjects-subjects marginalized by the authorities, whether police or scienceto further theories claiming that outward physiognomy

Another

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betrays inner lack of character. Ironically, her own polemic is belied by the pathos and humanity revealed in the faces of the men and women shown.

The most striking photographs are those of John Wilkes Booth's co-conspirator Lewis Powell, condemned for his unsuccessful attack on Secretary of State Seward. With nothing save the heavy iron manacles betraying the date of the pictures, Lewis Powell looks out at us with an almost modern demeanor, a beautiful man of vigor and depth whose innermost thoughts as he awaits his execution remain forever hidden behind his all-roo-human eyes. Perhaps the greatest gift of Ms. Phillips's collection is its restoration of humanity to the subjects in the collection.

Though the original intent may have been to show the criminal type, or the mentally disturbed type, the eyes in the phq_tographs, whether closed in death or open in fearful stare, reveal these people as individuals, full of the human passion and mystery which can only be hinted at by any medium, no matter how "scientific."

image-makers. Phototake's friendly,

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Color Bytes

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Trying to understand color has produced many systems of ways to consider the spectrum. ir Isaac Newton published Optics in 1704, his study of color as reflected light. He twisted the spectrum around into a circle, connecting the reds at the top of the

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rainbow with the purple/indigos at the bottom and we've been quite used to the "color wheel" ever s1nce.

I learned the Ostwald color wheel in school and studied Friedrich Ostwald's Farbentafeln (color tables) from the Bauhaus. Out in the working world of design and printing, I found the "Bourges color" system was the one the pressmen knew, a color wheel that identified color in process-

230

P H 0 T 0 G R A P H Y

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Book Reviews

printing terms. Since Newton's circle, some six-color wheel systems have been devised, the simplest being the 1766 "The Natural System of Colors" in which Moses Harris based his seeing on just red, yellow and blue. But there are thousands of colors that must be expressed in fine printing and even the CMYK codes are dependent on intermixes, the Cyan, Magenta, Yellow jumping over a bit on the wheel into adjacent colors, the blue being a bit green, the red tending toward the blue and the chrome yellow containing a hint of red.

This palette, plus black, works well for process printing on a reflective surface such as paper but the paper too is part of the equation in that its reflective quality affects the color.

printed page by reflected light. Graphic arts reproduction expert Kurt Klein says that one of the hardest things to explain to artists is that the color they see on the computer screen is not the color they will see on the printed paper.

The light is different. Computer monitor images are made of light generated by electron-beam excited phosphors in controlled brilliance. You can't expect this direct light to be the same as the reflected light off the printed page.

The author of Color Bytes, Jean Bourges, is a member of the family who over four generations developed the Bourges color system and her focus is partly on how to see, evaluate and use colors. The Bourges "wheel" puts the colors of the

Color Bytes is nicely printed on a balanced-white Quintes-

spectrum into an understandable sequence to group warm

sence, a fine surface for "Bourges colors in a circle." There are twenty colors in the Bourges system separated into yellows, greens, reds and blue groups, a wider palette to accommodate the wider range of colors for today's technology. The use of the word "Bytes" in the title suggests that the subject is connected with computer language but

and cool colors, color sections and complements opposite

it's primarily about color systems and color as seen on the

on the circle. Her book is filled with color charts, combination mosaics and such helps as the swoP process color codes for the twenty Bourges colors, her family treasures.

As you can imagine, she can be quite viewpointed about the Bourges colors, and she just doesn't mention PMS. "Taste the colors with your eyes," Jean Bourges writes with a passion for her chosen topic combined with an educated

University

of

Baltimore

lexicon of technical information blending what she calls "the Art and Science of Color" in a comfortable-to-read way. All r6o color pages are expertly printed by Chromatics

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Briefly Noted· Powwow Country: People of the Circle (Published by

Meadowlark Publishing Company, P.O. Box 7218, Missoula, Montana 59907, 128 pages, paperback, $21.95), by Chris Roberts, is a sequel to his book Powwow Country. While the Montana-based photographer's first book was designed to

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9 9 8

Book Reviews

ebration of the powerful traditions of a people as it is of its creator's dedication and vision.

-ANNE TELFORD

book whether you have an extensive photography library already or you are just starting one.

Flash! The Associated Press Covers the World

(Published by The Associated Press in association with Harry The Photography Book (Published by Phaidon Press

Limited, 7195 Grayson Road, Harrisburg, Pennsylvania I?III, 512 pages, hardcover, $39.99). I would liken this book

to the greatest hits category of photography if it were not for the fact that besides beautiful reproductions of very famous, instantly recognizable offerings, it shows glorious examples of the art of photography I'd never seen before-anywhere.

This very heavy volume unfolds like a personal museumcurated show of every genre of photography: portrait, landscape, sports, fashion, architectural, crime, documentary.

Arranged in alphabetical order by photographer (from Hans Aarsman to James VanDerZee), each of the 500 included photographs is accompanied by a sparse yet evocative paragraph of text describing the photographer's intent, analyzing the offering and placing it in a larger context. The glossaries of techniques and terms, and of movements, groups and genres are concise and helpful. This is a wonderful

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Business & Legal Forms tor

Photographers u pdated to cover !JPelectronic rights, Tad Crawford's book contains negotiation tactics and 26 forms to meet the photographer's every business need. A CD-ROM with electronic versions of each form is provided, making this an indispensable tool. "Every photographer needs this book. If you don't add this book to your library you may regret it later; this one I consider indispensable." - Shutterbug. "Crawford has created what is probably the most complete book of forms for photographers who work in commercial, editorial, stock, wedding, fine art, even video. His contracts are safe, easy-to-use, and cover all the bases." - ASMP Newsletter.

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81/2 x 11, 224 pages, ISBN 1-880559-82-X

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Or phone toll free: (800) 491 2808 Also visit Allworth's Web site at: www.allworth.com

N. Abrams, Inc., roo Fifth Avenue, New York, New York roon, 200 pages, hardcover, $39·95), with an introduction

by Peter Arnett, edited by Vincent Alabiso, Kelly Smith Tunney and Chuck Zoeller, celebrates the story of The Associated Press. In the AP's 150 years they have amassed 43 Pulitzer Prizes and lost 23 AP people who died in the line of duty reporting on developing world events and wars.

Unfortunately the layout is not terribly inspired but the impact of the photographs overcomes this deficit; photographs are broken into the categories of leadership, struggle, war and moments. Many of them capsulize powerful moments in American and world history. And while many may evoke a smile of memory or recognition, the sections on war and struggle brought me to tears more than once. Throughout its history The Associated Press has presented the news in an immediate, unedited fashion. I remember the AP machine in the newsroom at the University of Texas-we tore off pieces of paper spooling out of that machine that presented breaking news and rushed to put the stories in that day's edition.

The men and women in the field bringing back these photographs of grief, destruction, serendipity and the triumph of the human spirit provide an invaluable gift of truth and connection. Flash! is not always easy to take, but then neither is life.

Maya Color: The Painted Villages of Mesoameri ca

(Published by Abbeville Press, 488 Madison Avenue, New York, New York 10022, r8o pages, hardcover, $50), photographs by Jeffrey Becom and text by Jeffrey Becom and Sally Jean Aberg. Maya Color is a gorgeous and inspiring book. Designers, architects and all-manner of creative people will find these intensely rich photographs of Mayan architecture and culture a revelation of creative juxtaposition of pattern, color and shape. Becom, trained as an architect and painter, is also a skillful commercial photographer whose work has appeared in a number of books, magazines and advertisements. His obsession for the last eight years has been to document the world of the modern Mayans in Mexico's Yucatan region and surrounding Mesoamerican countries. Color in their world takes on a deep, almost spiritual significance and reaffirms the vitality of these remarkable people. Here is another instance where a photographer has turned vision into both a valuable anthropological record and a beautifully designed photographic tour-de-force.

-A.T. 234

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HUMBLE ,

TEXAS

TEXAS

MONTHLY

MICHAEL 0 BRIEN A P

MAGAZINE

Materials

F IR ST

FINE

Since the August issue is devoted to showing the winners ofour annual juried photography competition, this column covers a variety ofphotography-related items.

ART

EDITION

PHOTOGRAPH Y

response cards, folders , packages and products ." Man y manufacturers such as Gillette , HewlettPackard, Sony, Microsoft , Intel and Coca-Cola's Surge have added sound to their products.

Audio Logos

For example, a limited World

I had so much fun playing with

Cup gift edition pen from Gillette

their box of talking goodies that it

Stationery Products, contains the

took me a while to write this item.

sound of soccer's "Championship

Clegg Industries Inc. have been

Ole! " cheer when you open the

Q;

putting light, sound, voice and

packaging. (Too bad the box was

u

music behind printed messages

empty. I wanted to grab that

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IMA GE

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genuine expressions of familial

triggered to sound-off in direct-

contact their headquarters in

d evo tion, awe and acceptance by

Literature for Your Files A request on your letterhead to the following companies will bring you the literature described...free unless otherwise noted. Whenever possible, fox numbers, e-mail addresses and URLs have been included for convenience.

West

Swanstock's First Edition ...

catalog of fin e art photography is a revelation. Scores of offerings cross my desk but this one stands out above all the rest. Swanstock is now an Image Bank Company, but it is still guided by the vision

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• Solid financial history • For information call 888 476-5884; Ask for David

236

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Bobby Neal Adams, Nina Glaser, David Levinthal, Thomas Millea, Eileen Brady Nelson, Sally Gall and many other recognizable gallery names . The more pages I turn ed , the better it got: Lloyd Ziff' humorous compositions; Macduff Everton's dreamy panoram as; and Linda Connor's sacred places are fresh takes on a stock staple. Americana is a fun alter-

Premier Southern California graphic design firm seeking acquisition

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The elegant d esign was created by

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tions to express yo ur co n cepts

stock at (520) 622-7133 or The

and vis ual ideas." The catego ri es

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of Hum an Spirit, Natural World,

I

9 9 8

~

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whereby a three- to ten-second

Grow

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Journeys, Americana and Impres-

Photo/Digital Directory . ..

sions present an inspiring wealth

" an Franci co and the Greater

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Bay Area G uide to Photography

nology. Alpharag® contains the

and Digital Imaging Prod ucts,

patented MicroChamber® tech-

Serv ices, Professionals, Glossa-

nology, "a combination of mole-

ries," the photo/digital directory is

cular traps and buffers within a

an invaluable resource to all things

paper structure that actively pro-

photographic for Bay Area locals

tects artwork from the ravages of

and non-locals alike. Ed itor/pub-

air pollution and paper degrada-

lisher Bill Caldwell expanded his

tion ." The 1-ply board is touted

original vision of a twenty-page

as ideal for use as interleaving in

resource guide for professional photographers to a 208-page book covering equipment and supplies, rentals, talent, production services, photographers, labs, digital o utpu t, digital equipment and services and the always popular miscellaneo us section (everything from mat cutters to permits, associations and organizations to workshops and classes). Listings are easy-to-follow and give detailed information about, for

storage boxes, cases or flat files and seems very affordable: ten sheets of 8 x 10 are $9.30-less than $1 a sheet to protect your great prints.

Every time a new catalog comes, I spend far roo much time flipping through it and putting Post-It™ Notes on the storage box pages . Exciting news : TrueCore TM Boxes now come in black. Made of acid- and ligninfree buffered board reinforced

example, which services labs pro-

with black metal edges you can

vide, so it's easy to do compar-

get magazine files , flip-top boxes

isons. For further information

and letter files as well as binder

on purchasing copies of the

boxes. I'm phoning my order in

Photo/Digital Directory Vol. 1

now! For a copy of the Light

1997-1998 ($17 each) or for adver-

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tising information for the 1999

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version (they will be accepting

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August), contact Momentum Publications, (510) 653-4311, e-mail

FoodPixllll . ..The All-Food Srock

momentum@ccnet.com or visit

Picture Agency has published

them on the Web at www.

Volume 3, a CD-ROM containing

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7, 500 photographs and illustra-

Light Impressions .. . is the self-

appetite . This collection of

avowed "leading resource for

thumbnail images is available for

tions designed to whet your

238

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archival supplies." From albums,

use in advertising, editorial,

pages and corners to storage and

design, packaging, broadcast,

portfolio boxes (my favorite sec-

multimedia and online. The

tion); enclosures and accessories

FoodPix CD operates on

to labeling software, books and

Windows and Macintosh systems

environmental materials; and

and is available free to anyone

mounting materials and mat-

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test with every image, no compres-

Spin's motto is "we don't compress

Objects Collection COs contain

size, ethnicity, nationality, con-

sion and extensive built-in image

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images of people and objects with-

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out backgrounds for easy place-

FoodPix images are available as

plied Alpha Channels and their

by using Alpha and PhotoSpin

ment in layouts. Two Digital

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parencies, but they also deliver

bilities, are designed to save

opposed to C lipping Paths) on all

popular themes from customer

high-resolution digital files includ-

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objects which allows them to be

requests, were also introduced.

ing retouching, compositing and

every CD-ROM tide published,

dropped into a layout without

Home & Family contains images

alterations. If all this leaves you

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aged set of their images that is

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using lossy compression at any

fessionals and an assortment of

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They place a strong emphasis on

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ping its entire PhotoSpin Portfolio

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digitalstock.com

Digital Stock .. . a division of

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tain subject matter most frequently requested by Digital

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tornadoes and lightning storms,

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all shot at dangerously close range, as well as images of dramatic cloud formations and catastrophic

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-ANNE TELFORD

Clubs, Conferences, Seminars The University & College Designers Association will

The Direct Marketing Association 81st Annual

hold its 28th annual design conference in New Orleans at the Westin Canal Place September 26-29. There will be four days of inspirational and informative speakers and sessions;

Conference & Exhibition is set for October n-14 at Moscone Center in San Francisco . Meet and hear some of the world's visionaries discuss issues vital to the direct marketing busi-

exciting off-site trips and activities; resource information; a silent auction and the winners of the UCDA design competition will be announced at a special awards ceremony. For information or to be added to the conference mailing lis t, write UCDA, 122 South Michigan Avenue, Suite IIOO, Chicago, Illinois 6o6o3; call the UCDA National Office

ness. DMA pres ident and CEO H. Robert Wientzen will share his vision of where the $1.2 trillion direct marketing business is today and where it is headed tomorrow. Mr. Wientzen will be pointing to the trends, opportunities and challenges direct marketing faces. Gary Hamel, co-author of Competing for the Future, founder and chairman of

at (312) 431-9395; fax (312) 431-8697; or visit the Web site www. ucda.com

Strategos, will show how new rules, businesses and industries will define tomorrow's landscapes. Nicholas Negroponte, senior columnist Wired magazine, founder and director of

The Package Design Council has changed the name

of the organization to the Brand Design Association. President Phil Federspiel, Group Four Design, Avon, Connecticut, made the announcement, "Because the PDC has made great strides in responding to shifts in focus, service and programming which members felt were imperative for the vitality

MIT's Media Lab, and Don Tapscott, president New Paradigm Learning Corporation, will discuss the future of direct marketing in the digital world. For additional information, contact DMA, Registration Department, n2o Avenue of the Americas, New York, New York 10036; call (212) 7901500; fax (212) 302-7643; e-mail registration@the-dma.org.

and integrity of our organization, we will focus our member activities on those which will strengthen the sense of com-

To register online, visit the Web site at www.the-dma.org

munity among those working in the field . To deepen our institutional stability, we have entered into a strategic alliance with the American Institute of Graphic Arts (AlGA). Through this alliance, we will gain the institutional strength and expertise in serving the design community afforded by the AlGA,

The Advertising & Design Club of Canada has plan-

while freeing the Brand Design Association to focus on what

this award will bestow on him or her. Reception and exhibit

we believe is most important-programming about brand and package design ." Brand Design Association, 164 Fifth Avenue, New York, New York 10010; call (212) 414-0296;

at 6:30 p.m. on the ground floor, with the Awards Presenta-

fax (212) 807-1799; e-mail brand@aiga.org.

AlGA/National Design Business Conference in New

ned the Annual Show and Awards Presentation for Thursday, October 22 at the Design Exchange, 234 Bay Street, Toronto.

The Les Usherwood Award will be presented to an individual whose contribution to the industry merits the recognition

tion on the trading floor at 7=30 p.m . eating is limited.

Tickets avai lable from ADCC, 109 Vanderhoof Avenue, Suite 207, Toronto, Ontario M4G 2H7; call (416) 423-4II3; fax (416) 422-3762; e-mail adcc@interlog.com; or visit the Web site www.adesigncanada.com

York, organized jointly with the Brand Design Association, plans its third biennial two-day conference October 2-4 on brand design and its role in corporate strategy, at the Millennium Hotel in Times Square. Speakers confirmed to date include author Randall Rothenberg [Where the Suckers Moon], moderator; John Bielenberg, Bielenberg Design; Carol Carson, Alfred A. Knopf; Joanne DeLuca and Janine LopianoMisdom, Sputnik; Stephen Doyle, Doyle Partners; Marc Go be, Desgrippes Gobe & Associates; Drew Hodges, Spot Design; Michael Hodgson and Clive Piercy, Ph.D; DK Holland, Pushpin; Kalle Lasn and Allan MacDonald, Adbusters; David Rockwell, The Rockwell Group; Robert A.M. Stern, architect; Michael Tchao, Tchaohaus; Gael Towey, Martha Stewart Living; and David L. Vogler, Disney. AlGA,

The 1Oth Annual 3-Dimensional Illustration Awards Best in Show, Gold, Silver and Bronze winners will

be exhibited at the Society of Illustrators Museum of American Illustration, in New York December 9-19. The opening reception and awards ceremony will be held on Wednesday, December 9, from 6-8 p.m. The work will include animation, clay sculpture, digital illustration, fabric/ stitchery, mixed media, paper collage, paper pop-ups, paper sculpture, plastic sculpture, recycled materials and wood sculpture. For information, call (215) 953-1415; fax (215) 9531697; e-mail dimension@3dimillus.com; or visit the Web site at www.3Dimillus.com -JEA

A. CoY

E

164 Fifth Avenue, New York, New York 10010; call (212) 8071990; fax (212) 807-1799; e-mail aiganswers@aiga.org; or visit the Web site www.aiga.org 242

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Copy must be received three months prior to the publication date.

Please include a contact, phone number and address.

Index to Photographers

Abel, Barbara 103 Phone (248) 855-2569 4805 Valleyview Drive S. West Bloomfield, Ml 48323 Alicino, Christine 45 Phone (41~495-7707 601 4th Street, #214 San Francisco, CA 941 07 Archibald, Timothy

29

Phone~3m758-4248

616 Isla Place Davis, CA 95616

Bailey, Brian 35, 145 Phoneffi70)920-7839 117 Juan Street Aspen, CO 81611 Barry, David 62 PhoneQ12)754-5772 Represented by Julian Richards Phone (212) 219-1269 594 Broadway, Rm. 908 New York, NY 10012 Behdarvand, Pej 73 PhoneQ13)662-4224 1007 N. Madison Avenue Los Angeles, CA 90029 Bennett, Sue 19 Phone (520) 774-2544 107 N. San Francisco Street, Suite 3 Flagstaff. AZ 86001

Berman, Nina 75 Represented by Sipa Press Phone (212)463-0150 30 W . 21st Street, 6th Floor New York, NY 1001 0 Blakey, Ryan Alexandra 145 Spud Boy Productions Phone(770)855-2415 P.O. Box 5750 Atlanta. GA 31107 Bonini, Steve 42 Phone (503) 239-5421 615 S.E. Alder Portland, OR 97214 Brandt, David Allan 15 Phone (213)469-1399 1015 Cahuenga Boulevard, #14C Los Angeles. CA 90038

Carter, Peter 119 Phone (414) 476-6001 8944 W. Schlinger Avenue Milwaukee. WI 53214 Chalasani, Radhika 110, 115 Represented by Sipa Press Phone(212)463-0150 30 W. 21st Street, 6th Floor New York, NY 10010 Charkin, Dan 58 c/o Proof Phone (212) 727-7445 18 E. 16th Street, Suite 308 New York, NY 10003 Clemens, Clint 12 Phone (212)886-0576 High Hill Point Tiverton, Rl 02878

Cohen, Stewart Charles 109 Phone (214)421-2186 2401 S. Ervay, Suite 206 Dallas. TX 75215

DeBoer, Bruce 29 Stone Soup Productions Phone (919)833-6659 313 W. Martin Street Raleigh, NC 27607

Cushner, Susie 49, 68 Phone(617) 542-4070 354 Congress Street Boston, MA 0221 0

Delano, James Whitlow

Cutler, Craig 100 Phone (212)473-2892 628-30 Broadway, 4th Floor New York, NY 10012

Day, Jeff 93 Phone (212) 260-4884 605 E. 14th Street, #7H New York, NY 10009

96 c/o Saba Phone (212)477-7722 116 E. 16th Street. 8th Floor New York. NY 10003

Duffy, Bryce 99 Phone(416) 538-9950 1179A King Street W .. #302 Toronto. Ontario M6K 3C5 Canada Duka, Lonnie 110 Phone (714) 494-7057 352 Third Street. Suite 304 Laguna Beach, CA 92651

Broden, Fredrik 68 Phone (214) 748-7397 3404 Main Street Dallas. TX 75226 Burnett, David 89 Phone (703) 527-2388 1915 N. Upton Street Arlington, VA 22207

Cable, Wayne 137 Phone (312) 226-0303 312 N. Carpenter Street Chicago, IL 60607

Bentley, P.F. 84 c/o Time Phone (212) 522-3929 1271 Avenue of the Americas. #2417B New York, NY 10020

Campbell, Scott Canterbury 100 Phone (903) 297-6248 200 Vinewood Lane Longview, TX 75604

Berg, Ron 26 Phone (816)842-8480 1525 Grand Kansas City, MO 64108

Cargill, Lisa 29 Phone (773)281-5386 4206 N. Ashland Avenue, #1A Chicago, IL 60613

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Index to Photographers

Edson,Steven 132 Phone (617) 924-2212 25 Otis Street Watertown, MA 02172 Erickson, Jim 145 Phone (415) 928-5588 414 Austin Street San Francisco, CA 941 09 Estrine, Darryl 58 Phone (212) 780-0026 77 Bleecker Street, #319 New York, NY 10012

Fagan, Dennis 17 Phone (512)479-4103 610 Nueces Austin , TX 78701

Fehling, Ron 9 Phone (416) 962-7795 533 College Street, Suite 401 Toronto, Ontario M6G 1AS Canada

Ferguson, Scott 123 Ferguson & Katzman Photography Phone (314) 241-3811 710 N. Tucker, #512 St. Louis, MO 63101

Gajdel, Edward 90 Phone (416) 535-4773 260 Adelaide Street E., Suite 23 Toronto, Ontario M5A 1N1 Canada

Habib, Philip 19 Represented by Bernstein & Andriu lli Phone (212) 682-1490 60 E. 42nd, Suite 822 New York, NY 10165

Feiler, Tom 51 Phone (416) 535-1955 70 Ward Street Toronto, Ontario M6H 4A6 Canada

Foltz, Trent 115 Phone (314) 588-8101 1709 Washington, #505 St. Louis, MO 63103

Gamba, Mark 23 Phone (541)317-1000 791 N.W . Trenton Avenue Bend, OR 97701

Hall, Michael 6, 23 Phone (64) 4-475-7075 P.O. Box 9178 Wellington, New Zea land

Frame, Bob 87 c/o Proof Phone(212)727-7445 18 E. 16th Street, Suite 308 New York, NY 10003

Gerber, Kurt 29 Phone(773)486-6537 2317 W . Iowa Street Chicago, IL 60622

Hall, Stuart 123 Represented by Bernstein & Andriulli Phone (212)682-1490 60 E. 42nd Street New York, NY 10165

Feingold, Deborah 93 c/o Time Phone (212) 522-3929 1271 Avenue of the Americas, #2417B New York, NY 10020

Fuchs, Rafael 35 Phone (212) 529-0518 636 Broadway, #1218 New York, NY 10012

Goavec, Pierre-Yves 119 Phone (415) 552-7331 340 Harriet Street San Francisco, CA 94103 Gordaneer, Chris 42 Phone(416) 535-1955 70 Ward Street Toronto, Ontario M6H 4A6 Canada Gouby, Marc 30 Phone (33) 1-4224-0967 4 rue du Dahomey 75011 Paris France Graham, Donald 138 Phone (212)343-8842 111 Jane Street, #5 New York, NY 10014 Greenberg, Jill 51 PhoneQ12)594-5624 253 W . 28th Street, 5th Floor New York, NY 10001 Greer, Fergus 75 Represented by The Janet Botaish Group Phone (310)314-1571 1633 Electric Avenue Venice, CA 90291

Harbron, Patrick 100 Phone (212)633-9052 666 Greenwich Street, Suite 746 New York, NY 10014 Harris, Charles 137 Stone Soup Productions Phone (919)833-6659 313 W. Martin Street Raleigh, NC 27601 Hayward, Blaise 145 Phone (212) 598-4212 224 E. 12th Street New York, NY 10003 Herholdt, Frank 75 Holborn Studios Phone (44) 171-490-7857 49-50 Eagle Wharf Road London , N1 7ED Un ited Kingdom Hix, Steve 26 Phone (415) 388-3554 417 Marin Avenue Mil l Valley, CA 94941 Holbrooke, Andrew 60 Phone (917) 553-0196 50 W . 29th Street New York, NY 10001 Holland, Robert 110 Phone (561 ) 220-3667 16 N. Ridgeview Road Stuart, FL 34996

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Index to Photographers

Hood, Robin 46 Phoneffi1ffi794-2041 1101 W. Main Street Franklin, TN 37064

Kamper, George 115 Phone (212) 627-7171 121 W . 19th Street New York, NY 10011

Krist, Bob 93 Phone (201) 445-3259 333 S. Irving Street Ridgewood , NJ 07450

Houser, Robert

Kander, Nadav 10, 26, 30,39 Phone (44) 171-359-5207 1-7 Britannia Row London N 1 SOH United Kingdom

Kuehn , Karen 109 Phone (212) 477-1251 304 E. 4th Street (B/C) New York, NY 10009

Kashi, Ed 65 Phone (415)641-4636 824 Florida Street San Francisco, CA 94110

58

Phone~1ffi78~7818

2475 3rd Street, #253 San Francisco, CA 941 07

Howard, William 10 Phone (626)441-5483 1040 Hope Street South Pasadena, CA 91030 Huber, William 17 Phone (617) 426-8205 354 Congress Street, 4th Floor Boston, MA 02210 Huet,John 23,35,126 Redcat Productions, Inc. Phone (617) 439-9393 27 Drydock Avenue Boston, MA 02210

Jacobsohn,Jed 132 c/o Allsport Phone (31 0) 230-3400 17383 Sunset Boulevard Pacific Palisades, CA 90272 Johnson, Eric 89 Represented by Creative Exchange Phone (212) 414-4100 53 Gansevoort Street, 3rd Floor New York, NY 10014 Jones, Sam 73 Phone (310)914-4800 2809 Military Avenue Los Angeles, CA 90064

Kafka, Evan 99 Phone (718) 599-0532 244 Ainslie Street Brooklyn, NY 11211

250

McClaran, Robbie 71 c/o Saba Phone(212)477-7722 116 E. 16th Street New York, NY 10003

Mencher, Eric 55 Phone (215) 625-4904 308 Pemberton Street Philadelphia, PA 19147

McCurry, Steve 80 c/o Magnum Photos Inc. Phone (212)929-6000 151 W . 25th Street New York, NY 10011

Mendel, Gideon 143 c/o Network Photographers Phone (44) 181-985-8219 3-4 Kirby Street London EC1 N BTS United Kingdom

laita, Mark 131 Phone (310)836-1645 3815 Main Street Culver City, CA 90232

McDonald, Michele 52 Phone (781) 235-1039 29 Brookfield Road Wellesley, MA 02181

Mendelsohn, David 110 Phoneffi03)659-2530 15 Tall Pines Road Durham, NH 03824

Kasmauski, Karen 62 Phone 003) 241-7520 2907 Linden Lane Falls Church, VA 22042

Lavine, Michael 99 Phone (212) 924-531 0 78 5th Avenue, 5th Floor New York, NY 10011

Mclaughlin, Micheal Phone (212) 334-0411 20 W. 22, #1402 New York, NY 10010

Michienzi, Shawn 23 c/o RipSaw Inc. Phone (612) 673-0594 1625 Hennepin Avenue S. Minneapolis, MN 55403

Katzman, Mark 87 Ferguson & Katzman Photography Phone (314) 241-3811 710 N. Tucker, #512 St. Louis, MO 63101

lemoyne, Roger 106, 113,117 c/o Gamma-Liaison Phone (514)935-5534 1827 Lincoln Street Montreal, Quebec H3H 1H5 Canada

McNally, Joe 73 Phone (914) 478-7728 52 Villard Avenue Hastings, NY 10706

Kendrick, Robb 55 c/o Aurora Phone (207)828-8787 188 State Street, Suite 300 Portland, ME 04101 Kernan, Sean 120,125 Phone (203) 481-0213 28 School Street Stony Creek, CT 06405

leynse, James 137 c/o Saba Phone (212) 477-7722 116 E. 16th Street, 8th Floor New York, NY 10003 lim, Dan 20 Phone(41m2B5-8905 39 Cranfield Road Toronto, Ontario M4B 3H6 Canada

Kothari, Sanjay 35 Phone (212) 226-0015 450 Broome Street, #3E New York, NY 10013 Kratochvil, Antonin 57 c/o Saba Phone Q12)477-7722 116 E. 16th Street, 8th Floor New York, NY 10003

A

N U A L

McNamara, Christy 49 Phone ~53)652-7410 Durra Cottage Barefield, Ennis County Clare Ireland

Miller, Kathrin 126 Phone (41 5) 648-3342 225 Fair Oaks Street San Francisco, CA 9411 0 Mireles, John 117 Phone (619) 702-3510 1225 Market Street San Diego, CA 92101 Mizono, Robert

Malaterre, Dominique 68 c/o TILT Phone(514)844-0294 231 Saint-Paul West Montreal, Quebec H2Y 2A2 Canada

42

Phone~1ffi575-3933

150 Mississippi Street San Francisco, CA 94107

Mongeau, Pierre louis 15 Phone(51~994-5099

Kleinman, Kathryn 45 Phone(415)456-8544 41 Tamalpais Avenue San Anselmo, CA 94901

P H 0 T 0 G R A P H Y

lernes, Paula 132, 140 Phone (617) 489-6747 30 Selwyn Road Belmont, MA 02478

99

I

McArthur, Pete 117 Phone (310)815-1951 8735 W . Washington Boulevard Culver City, CA 90232

9 9 8

Malloy, Brian

10

Phone~14)224-6122

301 N. Water Street Milwaukee, WI 53202

Mark, Mary Ellen 100 Phone (212) 925-2770 134 Spring Street, Suite 502 New York, NY 10012 Matura, Nedjeljko 140 Phone (212)463-9692 119 W . 23rd Street, #505 New York, NY 10011

995 Wellington, #213 Montreal, Quebec H3C 1V3 Canada

Monk, Russell 77 c/o LINK Phone (416) 599-8231 2 Silver Avenue Toronto, Ontario M6R 3A2 Canada Montalbetti+Campbell 67 Phone (61) 02-9313-5066 23 Lever Street Rosebery, NSW Australia 2018

WHO PRINTS

WE DO .

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CHICAGO 847-9I3-9239 8 4 7- 9 I 3 - 8 9 56 FAX

SAN FRANCISCO 650-348-0446 650-348-0459 FAX

DETROIT 248-646-2202 2 4 8 - 6 4 6- 2 9 8 6 FAX

NEw YoRK

SEATTLE 206-706-9797 206-706-9850 FAX

2I2-88o-6440 2I2-880-644I FAX

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Index to Photographers

Morrison, John 39 c/o Zabara Productions Phone007)987-4856 18315 Sugarbush Court Middletown, CA 95461

Neill, William 119 Phone ~00) 575-4604 554 7 Foresta Road El Portal, CA 95389 Neleman, Hans 137 Phone(212) 274-1000 77 Mercer Street, #2N New York, NY 10012 Norberg, Marc 25 Phone (612) 340-9863 25 N. 4th Street, 4th Floor Minneapolis, MN 55401

Olson, Rosanne 19 PhoneQOffi633-3775 52 00 Latona Avenue N.E. Seattle, WA 981 05 Owens, Garry 39 Phone (44) 181-390-7288 5 The Ridge Surbiton, Surrey KT5 SHU United Kingdom

Parker, Gary 42 Phone (408)292-4916 385 N. 3rd Street, Studio B4 San Jose, CA 95112 Pastor, Nancy 132 Phone(415) 242-5404 2 Hugo Street, #3 San Francisco, CA 94122 Porcella, Philip 28 Phone (617)423-2002 337 Summer Street Boston, MA 02210

Rainey, Wayne 6 Phone (602)253-0339 124 W. McDowell Phoenix, AZ 85003

Sacha, Bob 62 Phone (212) 749-4128 12 W . 96th Street New York, NY 10025

Rainier, Chris 45 c/o Saba Phone (212)477-7722 116 E. 16th Street, 8th Floor New York, NY 10003

Sanders, Key 140 Phone(214)324-5442 P.O. Box 140680 Dallas, TX 75214

Schultz, Richard 132 Phone(617)439-3456 288-300 A Street, Floor 2 Boston, MA 02210

Reingewirtz, Sarah 75 Phone (818) 781-0155 6928 Ranchito Avenue Van Nuys, CA 91405

Sebree, Robert 140 Phone (213) 225-3609 694 Moulton Avenue Los Angeles, CA 90031

Resnick, Seth 73 Phone (617) 277-4920 28 Wolcott Road Chestnut Hi ll, MA 02167 Richards, Eugene 62, 71 , 87 Phone (718) 788-5342 4 72 13th Street Brooklyn, NY 11215 Robinson, Richard 135 Phone ffi4rn672-7243 254 Belleview Avenue Orange, VA 22960

Rostron, Philip 35, 39 Phone (416) 596-6587 489 Wellington Street W. Toronto, Ontario M5V 1 E9 Canada

A N N U A L

Seliger, Mark 71 c/o Proof Phone (212) 727-7445 18 E. 16th Street, Suite 308 New York, NY 10003

Sirota, Peggy 93 PhoneQ12)255-0886 23 W . 16th Street New York, NY 10010

Ross, Alan 103 Phone (505) 466-2335 24 Estambre Road Santa Fe, NM 87505

P H 0 T 0 G R A P H Y

Sedlik, Jeff 68 Phone (213) 626-3323 940 E. Second Street, Studio 8 Los Angeles, CA 90012

Sharpe, Scott 58 c/o The News and Observer Phone(919) 829-4792 215 S. McDowell Street Raleigh, NC 27602

Rosado, Mia 137 Phone (913) 681-9188 6110 W . 120th Street, Suite 151 Leawood, KS 66209

Rozzi, Mary 83 Phone (212)334-9163 220 Centre Street, #2 New York, NY 10013

252

Schleipman, Russ 6 Phone (617) 292-0055 37 Un ion Park Boston , MA 02118

Redler, Stuart 113 Phone (44) 181-892-2750 31 Arlington Road Twickenham, TW1 2AZ United Kingdom

I

Smith, Laurie 55 Phone (512)482-0083 105 Laurel Lane Austin, TX 78705 Smith, Rodney 20, 32, 40 Phone (914)359-3814 Box 697 Snedens Landing Palisades, NY 10964

9 9 8

Stefanchik, Joe 77 c/o The Dallas Morning News Phone (214)977-8803 508 Young Street Dallas, TX 75202 Strick, David 71, 99 Phone (310)473-5349 3050 Greenfield Avenue Los Angeles, CA 90034 Sugino, Shin 36 Phone (416) 469-4588 47 Booth Avenue Toronto, Ontario M4M 2M3 Canada Sund, Harald 137 Phone (206)938-1080 P.O. Box 16466 Seattle, WA 98116

Towell, Larry 123 c/o Magnum Photos Phone (212) 929-6000 151 W . 25th Street New York, NY 10001 Trachtenberg, Robert 51 Phone(213)938-4063 354 S. La Jolla Avenue Los Angeles, CA 90048 Turner, Pete 45 Phone (516) 537-2434 32 Westwood Road Wa inscott, NY 11975

Van Den Brulle, Eric 67 Phone (212) 965-0082 264 Elizabeth Street, #7 New York, NY 10012 van Overbeek, Will

51

Phone(512)707~900

Taira, Karina 95 Phone (212) 358-9504 232 E. 6th Street New York, NY 10003 Tehan, Patrick 128 Phone (408)475-3620 110 Central Avenue Capitola, CA 95010 Thijsse, Leen 146 Phone (31) 5-7745-6610 Paalhoeveneg 20 Kootnijk 3775KL Netherlands Thurnher, Jeffrey 55 c/o Beauty and Photo Agency Phone(213) 549-3100 5225 Wilshire Boulevard, Suite 620 Los Angeles, CA 90036 Titcomb, Jeffery 6 Phone (617)269-8777 423 W. Broadway Boston, MA 02127

2412 Ridgeview Austin, TX 78704

Vogel, Susan 132 Phone (415)487-1 400 1072 Folsom Street, Suite 350 San Francisco, CA 941 03

Wahl, Chris 58 Phone (416)822-6877 171 Clinton Street Toronto, Ontario M6G 2Y4 Canada Wakefield, Paul 145 Phone (44) 171-606-6505 41 Charterhouse Square London EC1 M 6EA United Kingdom Waldorf, David T. 100 Phone (415) 586-1170 250 Staples Avenue San Francisco, CA 94112

Index to Photographers

Walker, Douglas E. 140 Phone (306)352-3 707 1933 8th Avenue, #395 Regina, Saskatchewan S4R 1 E9 Canada

Westenberger, Theo Phone(212) 732-5900 366 Broadway, #SA New York, NY 100 13 Wexler, Glen

105

Wilkes, Stephen 19,26 Phone (2 03) 226-2 66 1 17 Crooked Mile Road W estport, CT 06880

Zaslow, Francine 119 Phone (617) 261-1878 27 Drydock Avenue Boston, M A 02210 Zules, Bill 67 Phone (2 12)966-6916 3 York Street New York, NY 10013

146

P honeQ1~465-0 2 6 8

Warren, Jon 117 Phone(206) 542-3865 19347 Greenwood Avenue N. Shoreline, WA 98133

736 N. Highland Avenue Los Angeles. CA 90038

Yager, Robert 79 Phone (213) 935-3459 7510 Sunset Boulevard, #225 Los Angeles, CA 90046

Editor's Note Every effort has been made to ensure that the credits comply with information supplied to us.

If, for any reason, a m isspelling , omiss ion or other error has occured, notify us within 30 days and we w ill be able to issue corrected award cert if icates .

Index to Individuals and Firms Represented in the 39th Photography Annual AAAA

123

Adidas International

42

Alinder, Jim 119 Al len, Bill 62 Allen, Dave 99 Anderson, Gail 93 57

Andreani, Daniel 36 Anthony, Kate 58 Armus, Jill 55 Arseneault, Nadine 58 Arundel, Andrea 68 Ashworth, Chris 83 Atlantic Records Audi

73

Bachleda, Florian 99 Baker Design 11 0 Baker, Joey 6 Baker, Richard 55, 71 The Bakersfield Californian 75 Barajas, Lu is

58

Bateman, Steve

145

BBDO Canada 39 BBDO New York 26, 28 Beckman, Eric 71 Belli, Marc 75 Bensimon Byrne DMB&B 42 Bernstein-Rein Advertising 26 Blevins. Summer R.

254

CPS Creative Group 73 Crandall, Jennifer 55, 71

29

Creed, Don 23 Crispin Porter Bogusky Cuyler, Joel 65

9 Bondulic, Dubravka 75 Bowden, Charles 62 Brautigan , Doris 51, 58 Brooker, Brian 17 Brown, Malcolm 51 Bulfinch Press, Little Brown and Co. 45, 119 Bupp, Robert 6 Burke, Joe 137 Leo Burnett Company 19

35

A N N U A L

I

29

77 Dames. John 23, 126 Davidson, John H. 77

Canard Duchene Champagne 40 Cargill, Lisa 29 Carney & Co. 35 Carroll, Jeff 46 Peter Carter Photography, Inc. 119 Catholic Charities 25 Cefalu, Rose 57 Charitable Choices 117 Chiang, Albert 93 Choi, Wain 9 Christie, Casey 75 Chron icle Books 45, 49 Chuck, Dawn 96 Clausen, Chad 67 Clearnet 36 Clement, Joel 17 Colton, Jay 100 Common Boundary 52 Conkl in, Scott 119 Conley, Sue 51 Core 23, 126

P H 0 T 0 G R A P H Y

9

Emerson, Wajdowicz Studios 87, 123 Entertainment Wee kly 51 , 58, 62, 73, 89, 100 espn2 10 Esquire 62 Evangelista, Ed 19 Eymer Design 119 Eymer, Selene 119

Davis, Cynthia M . 73 Dayton Hudson Corp . 20, 32 Designworks 6, 23 Detour 57, 58 Devine, Tom 110 DeVoe, Garrett 28 Dilorio, Mia 93 Discovery 96 DMB&B St. Lou is 123 Doherty, Melanie 49 Melanie Doherty Design 49 Dougherty, Chris 71, 99 Downbeat 68 DS Magazine 71 Dunjko, Carmen 51 Dunn, Mary 62, 100

Earthwatch 6 E.B. Eddy Paper, Island Paper Mills Division 123 EdgeWater Boats 11 0 Edson, Steven 132 EI-Baz, Mika 35 Elden, Rick 117 EMA

9 9 8

29

Goavec, Pierre-Yves

119

Goavec Studio 119 Goddard, Stephane 30 Gogarty, Trish 58, 67, 75 Goldberg, Margie 99 Golon, Marti 100 Good Design 109 Good, Jim 109 Goodby, Jeff 10, 26, 39 Goodby, Silverstein & Pa rtners 10, 17, 26, 39

Th e Dallas Morning News

35

30

Babcock, Alice

Cossette Communications

84

Bombardier Regional Aircraft 35 119

Anderson, Nelson

68, 90

Boeth, Rick

Bogusky, Alex

Adweek 58, 67, 75 Aim High 115 Albemarle Hospital The Alinder Gallery

Bloomberg

Fallon McElligott 23, 42 Fallon McElligott Berlin, Inc. 12 FCB, Paris 40 Feasey, Debbie 6, 23 Federal Express 26 Fetrow, Mike 23 Finlandia Vodka 30 Fitzpatrick, Kristin 93 Fluor Corporation 110 Foote, Cone & Belding 23 Forest, Robyn 83 Fortune 89 Fox, Carol 137 Fox, Toby 55 FPG 100 Freemantle, Larry 35 French Cosmopol itan 75 Fried, Janet 115 Friedel, Kyle 39 Friend, David 75 Froehlich, Janet 71

Garratt, Mathew 120 Giro Designs 29 The Globe & Mail

99

Goodsir, Christine 58 Graves, Vann 28 Greene-Robb, Shannon Griffin, David 62 Grigg, Jenny 67 Ground Zero 10 GSD&M 17

29

Haesche, Steve 110 Hall, Nick 79 Hal l, Stuart 123 Hanson , Dean 42 Harris, Charles 137 Hauser, Todd 110 Health 68 Healthwise Creative Resou rce Group Inc. 20 Heimann, Stephani e 96 Henderson, Jim 25 Hewlett-Packard 26 Hochstein, Arthu r 84, 93 Hoffman York 10 Holl mann, Anneliese 11 0, 115 HomeBoyz Web Design 10 Hoyt, David 115 HO 67 Huet, John 126

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Index to Individuals and Firms Represented in the 39th Photography Annual

Idea First. Inc.

McArthur, Pete

115

The Image Bank

137

117

McCaffery, Ratner,

O'Brien, Katherine

87

Rozen, Sarah

Okamoto, Sharon

73

Rush, Judy

26

Ryan, Kathy

65, 71

lmagio

19

Gottlieb & Lane

19

lmation

6

Mackler, Jonathan

42

119

McMillen, Nancy

51

Olympus

McNally, Michele

89

Out 73 Outside 67, 99

Inc. Technology

73

The Independent Magazine

Madame

79 Island Records

95

Maher, Kevin

35

Islands 93 lwataya 15

Douglas Ol iver Design Office

30

Marcotty, Anne

6

Jarvis, Paul

Martin/Williams

115

Johnston, Robin Jones, David

58

137

Rusty Jones, Inc. Jost, Rick

29

96

20

May, Ethan

19

30, 42

Parr, Tom

McNamee Schmetterer/ 19

39

Metropolitan Home

68

Kameny, Leslie

19

Michaelson, Mark

51 , 99

KAOS 17 Karabotsos, George 73 Keiler Advertising 125

Millan, Maria Morgan, Ken

55 39

Morris, Don

109

Kellogg Co.

Don Morris Design

19

57

Kernan, Sean

120, 125

Morrison, Amy

42

Kessler, Axel

73

Morton, Ferdinand

6

Pittsburgh

Ms.

King Pin Design Kittler, Marla Klenert, Josh Kline, Marc

29

58, 67, 75 109

Kriss, Evan

75

Mullen Advertising, Inc.

110

17

96 29

Phelps, Connie

62

Smithsonian

Nast

71, 99

60

35 55, 62 ,

36

10 Lehmann-Haupt, Carl 99 Lengyel, Cricket 67 Levis-Germany 39 Life 73, 75 Louis London Advertising 115 Louis XVI 30 Luker, Steve 10, 26, 39 Angelo Luzio 15 Lyons, Jr., Daniel 6

Ra iner Kollender 39 Rainey, Wayne 6 Random House

Basketball Tourney Nazareth College

Ray Gun

26

Rich, Edgar

51, 99

The New Yorker

Riss, Franc;:oise

93

Nike

10, 17, 26, 29, 35, 39

Robertson Design

Nikon

23

Robertson, John Robinson, Richard Rolling Stone

Ross , Alan

PHOTOGRAPHY

ANNUAL

9 9 8

137 103

35

119

20 Sun International

Zuger, Larry 110

137

Sundance Institute Syncronys

Zoom

15

77 19

Zuhair Fayez Partnership 113

109

29

19

Editor's Note made to ensure that the credits comply with

39 Tapper, Joan

49 46 46 135

93

Romero, Michele Rosado, Mia

80

Every effort has been

71

58

The News and Observer

Ychave, John

Zinc Communications

87

Roberts Rinehart

42

Substance 83 Sudafed, Warner Lambert

60

The Richards Group

65, 71

83

Wow & Flutter

Francine Zaslow Photography

113

Richards, Eugene

The New York Times Magazine

35

93

137

35

Swartz, David

Redler, Stuart

New York Magazine

20

123

Woodward, Fred

51

Sund, Harald

83

Reckitt & Colman

29

77

Nelson, Paula

45

Ranscombe & Company

Wonderbread 42 Woods, Catherine

84, 93

Stringer Veroni Ketchum 15

87

95 20

Stone Soup Productions Stout, D.J .

Who Weekly

39

Stefansky, Sussane

9

105

6, 23

109

Starr, Jennifer

23

100

Woon, Kevin

12

Stephenson, Michele

80 84

58

Springer & Jacoby

62

15

Nakahata Company Ltd. Nakahata, Takashi 15

45

Sports for Women, Conde

87

Priest. Robert

83

Solowan, Barbara

62 93

87, 123

Waldorf, David T.

Wieden & Kennedy 35 Williams, Trevor 26

Slatoff & Cohen Partners Smith, Susan B. 67, 99

19

Wajdowicz, Jurek

Westpac Trust

10, 17, 26,

39 Sissons, Amanda

110

83

Westenberger, Theo

Steinberg, Hayes

National Night Hoops 87, 123

256

Silverstein, Rich 55

Stringer, Barry

LaRochelle, Lisa Lawson, Scott

10 117

Sillick, Richard

20, 32

28

Von Weise, Lisa

68, 90

Shelmerdine, Guy

Shum, Windy

125

99

115

23

51

Pettas, James

Visa

73

Shift Magazine

62

Langholz, Susan Lavoie, Paul

29

39

Quantum

Nakata, Robert

131

Schudel, Donna

PepsiCanada

Quintal , Nelson 119

Via Health

Shiffman, Tracey

26

National Geographic Laita, Mark

55

15

42

Murphy, Brian

Schaefer, Mari

Sega

40

van Roden, William

Pedriks, Tom

Premiere

Valette, Delphine

58

55

Shea, Mary

Powell, Leslie

45

Kuhlmann, Deana

Ladd , Brent

93

Pollack, Kira

71

Krist, Elizabeth

Peck, Jana 9 Peckman, Jodi

Place, Danielle

Munekata, Norikazu

12

Kozlowski, Karen

20, 32

Piper, Brian

87

Mullins, Patrick

Patton, Mary

Pinkhaus

99

Moskot, Carol

77

83

Schumann, Marie

Philadelphia Inquirer

109

Morris, James

Ketchum Advertising/

46

26

Philips Electronics North America Corp. 19

62

Kennedy, Tom

42

Peterson Milia Hooks

99

Kaepa Athletic

Saveur

110, 115

117

Saturday Night 23

Parker Hood Press

117 Messner Vetere Berger

Metropolis

68

Parker, Gary

Mennonite Central Committee

Euro RSCG

Palecek, Jane

Brad Palm, d'palmz

25

Matas, Boris

Refugees 55, 71

us

42

Saab Cars

Sammartano, Paola

6

87

Commissioner for

Sariye

The Martin Agency

Programme

19

Saasta , Tim

Maricopa Community College

106,113,117

UNICEF

United Nations Development United Nations High

68

Mahoney, Jamie

100

89

information supplied to us.

93

Taxi Advertising & Design

If, for any reason, a mis-

36 Texas Instruments

spelling, omission or other 109

Texas Monthly

51

Thede, Michael

119

Time

84, 93, 100

Tobias, Marie

93

Tolson, Cay

109

error has occured, notify us within 30 days and we will be able to issue corrected award certificates.

Directory Features Technology Feature Kathleen Maher kmaher@mfi .com

Columns Design Technology Wendy Richmond Wendy Richmond & Co .

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Microsoft Word for word processing and Adobe Photoshop for scanning and positioning images.

Typography Adobe Garamond Adobe Garamond Expert (Robert Slimbach) CA Garamond Regular/Old Style Figures Italic/Old Style Figures Univers (Linotype/Adobe) Din Mittleschrift (Linotype/Adobe)

Printer Anderson Lithograph 3217 S. Garfield Avenue Los Angeles, CA 90040 (213) 727-7767 (213) 722-2328 fa x

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I

9 9 8

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Advertiser's Index Allsport 193 Allworth Press 234 Anderson Lithograph 251 ASMP 238 Bennett, Sue 152 Bybee, Gerry 182 Catcandu , Inc. 189 Clients & Profits 240 Compac 246 Comstoc k 175 Consol idated Papers 159 Corbis 179 Corporate Image 178 CTI Paper 169 Digital Stock 172 Direct Stock 195 Dupont Color Proofing 216 E.B. Eddy Paper 243 Erickson Productions 259 FoodPix 228 FPG 237 Georgia-Pacif ic Papers 225, 249 Image Bank 151 Index Stock 177 Job Parilu x 205 KliK 181 Lowery Photographi cs 229 Masterfile 222 McArthur, Pete 157 Mead Coated Papers 200 Miam i Ad School 192 Morgan, Scott 185 Nonstock 203 O'Brien, M ichael 235 Palad in 204 Pantone ColorWeb 161 Parallel Productions, Joe M ichl 197 Photo District News 253 PhotoDisc 187 Phototake 230 Portfolio 191 Publish 255 Schatz, Howard 21 0 School of Visual Arts 241 Scott, Denis 213 Seybold 257 Sharpshooters 215 Silicon Graphics 239 Sound Vision 227 Stock Market 155 Strathmore 199 Tony Stone Images 219 United Lithograph 231 University of Ba ltimore 232 West Stock, Inc. 233 Yupo Corporation 147

JIM ERICKSON

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Issues no t li ted are no lo nger available.

May/June 1998 Photograph C Frans Lanung

December 1996 Advertising Annu al

March / April 1998 Photograph C Rodney Smith

December 1997 Advertising Annual

August 1996 Photography Annual

July 1996 Illustration Annual

Photograph C Damel de Souza

Ulustrat•on Cl Cra•g Nelson

"J -"an__u'-a'-r-'y :/.....F....:e....:b_ru'-a'-r_,_ y_1.c:.

9..:..

87 _ _ ___:..:.. s8

September /October 1988

H einz Centenni al Annu al Repo rt ; Ri chard H amilto n Smi th ; Dyer/ Kahn ; Wieden & Ken ned y; C harl een Kinse r D es igns; Twenty-seve n C hi cago D esigners; M agazi ne o n W heel s; " H old t he Red Ink , Merger o n th e Right; " Index to Volum e 28

To ny Schwa rtz ; Juli e Li eberm an; Fr a n ~o i s Ro bert ; N FL Pro perties; Nev ill e Brody; Exhibi t; C rea tive G reet in g Ca rds; Herbert Baye r

March/April 1987

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Museum Des ign Co mpet iti o n; Levine, Huntl ey, Sc hmidt & Beave r; Jeffrey J .

Smith ; Barbara Bo rdni ck; Sibley/ Peteet; Ca r Emblems May/June 1987

s8

Jo hn Van Dyke; GS D &M; Kath ry n Kleinm an; Al an Cober Sends His Best; Espri t Bed & Ba th; Colo r Predi cti o ns; Mi chael M abry; Sa n Francisco D esign Discuss io n ; Arde hir Mo has e

November 1997 Design Annual

August 1997 Photography Annual

Photograph C Mark La•ta

lllustratton C Joe Sorren

March/April 1996

September/ October 1995

May/ June 1995

Destgn Cl Luctlle Tenazas

Photograph C Davtd Mendelsohn

lllustrat•on C Ward Schumaker

January/February 1989

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Co lo rado Intern atio nal In vitati o nal Poster Ex hibiti o n; United Way C ampaign; Ca rbone molan Associates; Willi am Co ne; Willi e Moy; Arm ando Testa; Aspen; C reative G ree ti ng Ca rds; Roge r Bl ack o n raying Ali ve ; Ed M cCabe and Backwater Advertisin g November 1987

s8

Smart Yellow Pages; Willi am Ne il l; Art C hantry; " Des ign Jo bs: Fact and Fictio n;" Kuni o H agio; H ell er Bree ne; Ge ne H offman; AlGA Co nfe rence t1 (Sa n Francisco); Index to Volum e 29 $8

Ro bert Appl eto n; Vi nr Law rence; Muse um of Fli ght , Sea ttl e; Ma rtin / Willi ams; Simpso n's "An America n Reader;" Yuri Dojc; Jack Ro berrs ; Exhibit ; Marge t Larsen

s8

Taylo r & Brown ing; T ho mas Blackshea r; Li vin gs ton & Co mpany; O mni M agazine; Sex in Ad ve rtisin g; Michael Go ing; Ex hibit ; H eath er Coo per's Carnaval Perperu el; ine Ways to Improve an Ad

December 1994 Advertising Annual

November 1994 Design Annu al

December 1996

s8

Designers: Lo mas Financial o rpo rario n and T he Ri chard s G ro up ; M alco lm Ta rlofsky; Wo men in Design Ro undtable; Merchand ising Designers: harles S. Anderson , To m Bo nauro, Hi gash i/ G laser, heryl Lewin , M ichael C ro nan ; Exhibit

March/April 1991

January/February 1994

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Sov iet Graphi c Des ign; Bi ll Westbroo k; C.F. Payne; G raph ic D em ographi cs ; M ichel e C lement; Vaugh n / Wedeen C reati ve ; C reatin g an Eco- afe !lice; Ameri ca n Package Des ign ; Ex hibit

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VSA Partn ers; Vivienne Flesher; Virro Ro berrso n ; Ateli er de C rea tion G raph iqu e; Pete M cA rthur; Co lo r Predi ctio ns; Co lorado I nrern ari o nal In vitatio nal Poster Ex hi bit io n; Eco; Ex hibit ; Ind ex to Volum e 35

January/February 1997

July 1994

Mu seum D es ign Co mpetiti o n; M andelbaum M oo ney Ashley; James M arsh; C li ents and Des ig ners: Jose ph Abbo ud Apparel and des ig ner Tyler Smith ; Jo hns + Go rm an Film s; Ri ck Rusin g; Emery Vince nt Assoc iates; Pri ci ng & Ethi cal G uidel ines; Ex hibit

$16

Co lo rado Inte rn ati o nal Invi tati o nal Poste r Ex hibiti o n; D eutsc h; Joyce Ki tchell ; Tim Bieber; Skolos, Wedell + Ray no r; AlGA Co nfe rence til (Sa n Anto ni o); Ea rthqu ake; Ex hibit ; Index to Volum e 31 s8

Mi chael Brock ; Rob D ay; G rea t Mo ments in D esign Too ls; T he Ball WC RS Partn e rship; Geo f Kern ; Madse n & Ku es ter; C hi ar/ Day: Th e Boo k; Ex hibit; Farewell to the O pulent Eighties s8

T im G irvin ; Paga no, chenck & Kay; Aaro n Jo nes; Win e Labels Get Bolder; Te rrelo nge Des ign; " D es ign-Spea k Vs. Co mmun ica tin g fo r Success;" Richard M anrel; TED 2; deG raf/ Wah rman ; Exhibit

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Alexa nd er Gel man ; RJ M u na ; Roch e Maca ulay & Partne rs; Janet Woo ll ey; o lo r Predi ct io ns; G reat Idea on Limited Budgets; Eco ; Exhibit; Index to Vo lum e 38 s8

Ma ry Ellen Ma rk; Big Bang Idea Engi neering; Spec ialty Beer Label Design; Rene Mi lot; C lients & Des igners: Des Mo in es Metropolitan Waste Autho riry and Partee Design ; Eco; Ex hibit ; Germa n Advert ising July 1997

May/June 1991

$16

1997 Ill ustration An nua l

1994 Illu stratio n Annu al August 1997 November 1994

$24

$16

1997 Ph otography Ann ual

1994 D es ign Annu al November 1997 December 1994

$24

$24

199 7 Design Ann ual

199 4 Ad ve rti sin g Annu al March/April 1992

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$24

1996 Adve rtisi ng An nu al

raig Frazier; Bill Vuksa nov ich; Victor Papanek; Raymo nd Meier; Bartl e Bogel H ega rty; Salary Survey Res ults; Co lo r Pred icti o ns; Ellis Island Immi grati o n Mu se um ; Ex hib it; Ind ex to Volum e 32

December 1997

Co ncrete D es ign Co mmun icat io ns; Mu ll en Ad ve rti si ng; Ca th lee n Toelke; Emigre; Bruce Hands; laughrerH anson; T he hangin g Demographi cs of D es ign; Co lo r Predi cti o ns; T he C ity of Ph oe nix Logo Competiti o n; Ex hibit

Arl anta Art & D es ign ; Ward Sc hum aker; W ill va n Ove rbeck; Jun g vo n Matt ; G rea r Ideas o n Lim ited Budgets; Eco ; " rea rin g th e Future" Tim el in e; Ex hi bit

July 1992

$16

September/October 1995

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Lauri e Rose nwald ; D av id Me ndel so hn ; Ridd ell Ad vertisin g & D esign; T he ew So uth Afr ica; Eco ; Ex hi bit; Interact ive Des ign Annu al 1 + C D - RO M

1992 Ill ustratio n Annual September/October 1992

Gra ph ic Design in C hina ; Phili p Burke; Fallo n McElligott; li enrs and D es igners: G rand Uni o n and M ilto n G lase r, In c. ; Lo nni e Duka ; O ri o le Park at Ca mden Yards; T he ext Generatio n of Lo nd o n D esigners; Ex hibit January/February 1993

$8

Photograph C AJ Muna

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Lewis Mo berl y; Wi lli am o upo n; Drenttel Doy le Partn ers; Anth o ny Russo; Mc Kinn ey & Sil ver; Mi chael C ronan ; H ans Rudi Erd t; Ex hibit

May/June 1990 May/June 1988

Janu ary / Febru ary 1997

March/April1997

Ammirati & Puris; o mputers in th e rudi o; co tt Mo rga n; Ri chard so n o r Richardso n; Exhibit; Yes terd ay in CA

March/April1990 March/April 1988

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To m Hughes; Jim Arnd t; Melissa G rim es ; G oodby, Berli n & Silverstein ; Ex hibit ; D es ign in hi cago ; Jeff Barn es; Kym Abrams; Ri ck Vali cent i; Robert Petri ck; Steven Li ska; Japanese Des ign Ad venture

January/February 1990

M arch / April 1997 Illustration C Rene M1lot

July 1990

January/February 1991

March/April 1989

September/October 1989

July 1997 Illustration Annual

1990 Illustrati o n Annu al

$24

t98 7 Des ign Annu al January/February 1988

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Edels tein Assoc iates ; Myro n; Joy Radi o; Mu ll er + Co mpany; Po laroid Poster Co ll ec ti o n; Matthew arter; Jo hn H ersey; T he Partn ers; Ex hibit ; Index to Vo lum e 30

May/June 1989 September/October 1987

Fo r shi pping w ith in the U.S., please add $I per issue. Al l other co unt ries, please add $5 (U. S.) per is ue. alifo rni a res idents, pl ea e add 8.25% sales tax. Canadian res iden ts, plea e add 7% CST.

Soft wa re Packagin g Des ig n; M ark Fredr ic kso n; Mo ri a D esign ; Co lo r Predi ct io ns; O M O ; C ra ig C utl er; hildren's Boo k Il lustratio n ; Srock Ph otograph y; Ex hibit ; Ind ex to Vo lum e 34

May/June 1995

March/April 1996

$8

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Os bert Pa rker; Po liti ca l Pos ter ; Peggy Siro ta; Andrea Ventu ra; Lucille Tenazas; Weiss , Whitten, Stagli ano; O lym pic Des ign, Parr 11 ; Eco ; Ex hibit

s8 July 1996 1996 Il lustrati o n Annu al

$16

August 1996

$16

1996 Ph o tograph y An nu al

$24

199 7 Ad vert isi ng Annu al March / April1998

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Gra fik Com mu n icat ions Ltd .; Joe o rre n ; Butl er, Shine & Stern ; KD D es ig n Group; Rodney Smith ; Typographic Vo ice ; Eco ; T he Richard and Jea n Coyne Fa m ily Foundation ; Exhibit May/June 1998

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Bia nco & ucco ; Peter de Seve; Wo lfga ng Weingart ; Hunt Adkin s; Fra ns Lant ing; Luba Lukova & James Vicrore; rea r Ideas on Limited Budgets; Eco; 1998 Salary urvey; Exhibit July 1998 1998 Ill ustrat io n Annual

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